June 5-6, 2021 Estates Auction | Featuring the James Carville & Mary Matalin Collection

New Orleans Auction galleries

Estates Auction: June 5-6, 2021

E STATES AUCT I ON

June 5-6, 2021

New Orleans Auction galleries

333 Saint Joseph Street, New Orleans, Louisiana 70130 www.neworleansauction.com | info@neworleansauction.com | 504-566-1849 LA Auction License AB-363, Steinkamp #1265, Eichenwald #1922 | 25% Buyer’s Premium

featured property: The James Carville & Mary Matalin Collection New Orleans, Louisiana The Collection of Valerie Sellors & Samuel Ellis Dunnam, IV Austin, Texas Property From The Claiborne-Humphreys Mansion New Orleans, Louisiana The Estate of Dr. Kenneth McLeod, Jr. New Orleans, Louisiana Property Descended in the Family of Garland Bonner Howard Houston, Texas The Estate of Carol Austin Straus Houston, Texas

Exhibition: May 24 - June 4, 2021 Monday - Friday | 10:00 a.m. - 4:00 p.m.

Closed Monday, May 31 in Observance of Memorial Day

By Appointment

lot schedule:

Please note that times are approximate Session I (Lots 1 - 417): Saturday, June 5, 2021 10:00 a.m. CST

10:00

-

11:00

1

-

80

11:00

-

12:00

81

-

160

1:00

161

-

24 0

12:00

-

1:00

-

2:00

241

-

320

2:00

-

3:00

32 1

-

400

3:00

-

3:15

4 01

-

41 7

Session II (Lots 418 - 835): Sunday, June 6, 2021 10:00 a.m. CST

10:00

-

11:00

41 8

-

500

11:00

-

12:00

5 01

-

580

1:00

581

-

660

12:00

-

1:00

-

2:00

661

-

74 0

2:00

-

3:00

741

-

8 20

3:00

-

3:15

821

-

8 35

Absentee

Live Online

bidding: Telephone

Bidding is available by telephone, absentee and live online with LiveAuctioneers and Invaluable

"Don’t you just love those long afternoons in New Orleans when an hour isn’t just an hour–but a little piece of eternity dropped into your hands–and who knows what to do with it?”

– A Streetcar Named Desire by Tennessee Williams

Letter From the CEO New Orleans will unapologetically claim the heart of the most stoic and pragmatic amongst us, for she is a city that stirs the soul and senses like no other. The metronomic clacks and clangs of the St. Charles Avenue streetcar and echoing melodies of French Quarter jazz bands; the wafting aromas of hot crawfish steeped in spicy cayenne and briny oysters on the half-shell; and the breathtaking beauty of stately oaks draped in stoles of lacy moss and iconic riverboats roiling the waters of the Mississippi… these are a few simple but cherished evocations of most anyone who has found themselves entwined in a love affair with New Orleans.

I came to this city more than 40 years ago. From a neophyte salesperson, traversing the sometimes perilous sidewalks (if you know, you know!), to an established business owner, I’ve seen New Orleans from all sides, and the magic has never dimmed.

Of course, I find myself flattered to be in such good company as the Crescent City has captured the imagination of artists, writers and your average, all-around bon vivants for centuries. Actor John Goodman, who adopted NOLA as his own many years ago, rightfully said, “Someone suggested that there’s an incomplete part of our chromosomes that gets repaired or found when we hit New Orleans. Some of us just belong here.”

Without a doubt, James Carville and Mary Matalin belong in New Orleans. The famously opinionated political powerhouses, who are usually found firmly on opposing sides of the aisle, wholly agree that New Orleans is home.

New Orleans Auction Galleries is honored to share with you a select portion of James and Mary’s collection from

their longtime Palmer Avenue family home in this auction, Saturday, June 5 and Sunday, June 6. Eclectic, rich and layered, the rarefied offerings include antique and modern furniture, decorative objects and more.

And like all of our Estates Auctions, this sale offers over 800 lots of furniture, fine art, lighting and much more.

While we as a country are finally finding our footing as we emerge toward a post-pandemic normalcy, NOAG is continuing to encourage safety as everyone’s priority.

Would you like more information or photos on an item? Just call 504-566-1849 or email info@neworleansauction.com, and we will be glad to assist. Would you like to bid from the comfort of home? Go to NewOrleansAuction.com and click on the “Bidding” tab for details covering online and phone bids. Whatever we can do to help you, please just let us know.

Until we meet again–hopefully soon–remember, New Orleans in all her ethereal, beguiling beauty is already reawakening, ready to capture hearts unawares, once again.

Susan D. Sarofim CEO P.S. Don’t forget to engage with us on social media. Join us on Instagram at @NewOrleansAuction and share your #NOAGfinds – we’d love to see your favorite piece or pieces on our feed!

Classically New Orleans THE JAMES CARVILLE & MARY MATALIN COLLECTION "New Orleans taught me–demanded of me–a different way of living, the way I had always hoped to live. I learned to stop trying to have all the answers, and delight at new discoveries every day instead."

– Mary Matalin

© George Long | Courtesy of George H. Long Photography

James Carville and Mary Matalin need no introduction.

Reagan and was campaign director for President

The political power couple has amassed much notoriety

George H.W. Bush. She was an assistant to President

as strategists and consultants for some of the country’s

George W. Bush and counselor to Vice President Dick

most memorable presidential campaigns – each on

Cheney. Both acclaimed authors in their own right,

opposing sides of the aisle, that is (he’s a Democrat,

Mary and James co-authored the New York Times

she’s a Republican). James was the lead strategist

bestseller, Love & War, in 2013.

during former President Bill Clinton’s campaign and has advised public office candidates in 23 nations. He

Despite their polarities, James and Mary have managed

served as a professor at Tulane University for nearly a

to remain happily married for 28 years, are parents to

decade before going on to teach at Louisiana State

two daughters and have spent over a decade calling

University. Mary served under President Ronald

New Orleans home.

Photo by Liz Jurey Courtesy of the Preservation Resource Center

THE JAMES CARVILLE & MARY MATALIN COLLECTION New Orleans has always been more than just a special place for James and Mary. The Crescent City has provided the backdrop to some of the couple’s most memorable moments, including their 1993 wedding.

While James and Mary may not always see eye-toeye on many things, their love of New Orleans is something they’ve always wholeheartedly agreed on.

While the city provided the stage, it was their beloved home on Palmer Avenue that became one of the lead characters in their family’s story.

"New Orleans has been my favorite city since I was a little girl, long before James Carville existed in my world. And I always wanted to live here. When I came to this part of the city for the f irst time and stood at that gate and looked up at that house, I said 'this is it’.”

A HOUSE BECOMES A HOME One can’t blame Mary for being smitten with the grand Colonial Revival home at f irst sight. Designed by architect Frank P. Gravely, the 114-year-old home features a wide f ront porch, symmetrical facade and double columns, which are adorned with decorative millwork and connected by segmental arches that create an undulating design – all elegant characteristics of Gravely’s Colonial Revival homes.

“On a family visit to New Orleans, I had gone house hunting alone. This gave me a distinct advantage. But there was no other way. James hates shopping for real estate almost as much as he hates snow. He opted instead for daytime drinking and lamenting with his sisters over his wife’s out-of-control materialism. I didn’t expect to f ind the right house immediately— who ever does? But after viewing f ive or six houses that were in the realm of possibility, and thanks to the astoundingly astute realtor queen, Carmen Duncan, I discovered the grand vintage New Orleans home of my dreams.”

Perhaps even more awe-inspiring than the house’s exterior is the stunning original Italian plaster work and millwork found inside, “which begins in the wide center hall with a swirling floral pattern in the f rieze and double bands, depicting acanthus leaves and flowers along the ceiling,” as described in a Preservation in Print article written by architect Robert Cangelosi, Jr. in 1986.

There, nestled within the city’s historic Garden District, Mary and James transformed the stunning house into a home.

Photo by Liz Jurey | Courtesy of the Preservation Resource Center

THE JAMES CARVILLE & MARY MATALIN COLLECTION STYLED BY THE CRESCENT CITY Nicknamed the “Ragin’ Cajun,” James’s connection to Louisiana may seem obvious, and his ties to New Orleans certainly run deep, having been born and raised in nearby Carville and having spent nearly a decade teaching at Tulane University. He well understands the city’s inimitable uniqueness, having once said, “When you go to New Orleans, you’re not just going to a city. You’re going to an entire culture.”

And it’s that quintessential New Orleans style and eclecticism that is so intentionally reflected in their home.

Paired with Mary’s impeccable eye for beauty, the result is a stunning treasure trove of interior design – and plentiful character.

“Some years later, when every corner of the house was done (or almost done, since you never say never when it comes to decor), I would frequently find James standing in the central hall, looking around with a smile on his face, talking to himself, his chest all puffed up. He couldn’t believe how beautifully it all turned out. When people visit, he tours them around, so proudly, admiring every single thing as if for the first time. The details, the colors, the dining room mural, the antique silver tea service, and vintage creamy white Oushak rug, every source of his former torment and tumult. Now he’s gloating and giddy with his own good fortune.”

Photo by Liz Jurey | Courtesy of the Preservation Resource Center

Staying true to their commitment to New Orleans and with a desire to ensure the stories written in their beloved home carry on, Mary and James have entrusted NOAG to offer many pieces f rom their residence in our June 5-6 Estates Auction. Each one providing rich and colorful stories and transporting us to a particular time and place.

“The coup de grâce was last spring when President Clinton was visiting for a fundraiser. I left after exchanging pleasantries, but before I did, Bill Clinton grilled me in his customary way about an antique Italian corona, which James never understood.

As it turns out, the former president has a vast knowledge of obscure furniture and fabulous taste to boot. Not that I would ever vote for him, but I will be eternally delighted with the quote f rom the fundraiser that made the Times Pic the next day.”

"When you go to New Orleans, you’re not just going to a city.

You’re going to an entire culture”

A NEW CHAPTER BEGINS Like every great story, however, James and Mary's chapter in this residence has come to an end. After a 13-year Uptown love affair, and with their daughters now grown, the couple has decided to continue writing their New Orleans story elsewhere (though never too far away), recently selling their Palmer Avenue home and now currently in the process of selecting the next New Orleans home of their dreams.

“Carville,” the former president told the newspaper, “has obviously done well since I let him escape government service. There were parts of his home here in New Orleans that made the White House look like public housing . . .

His wife could at least take comfort f rom the fact that he is now living like a Republican.”

Excerpts f rom: Carville, J., & Matalin, M. (2014). LOVE & WAR: Twenty Years, Three Presidents, Two Daughters & One Louisiana Home.

New York: Blue Rider Press, a member of Penguin Group (USA).

The Collection of

Valerie Sellors and Samuel Ellis Dunnam, IV Austin, Texas

Samuel “Sam” Ellis Dunnam, IV had a lifelong penchant for the finer things. As a young man growing up in Houston, Texas, he was affectionately nicknamed “Deluxe Dunham” by friends.

Sam’s father was in the oil business in Houston, and the family’s finances were a direct reflection of the ups and downs of the oil industry over many decades. Hard times were lean, but good times meant bigger houses, finer cars and better art. This feast-or-famine mentality stayed with Sam into adulthood and, when times were good, Sam would start looking for the next fabulous painting or photograph to add to his collection.

While on their honeymoon in Mexico City, Valerie experienced Sam’s affinity for collecting firsthand as they wandered through the city’s galleries. She knew that as a young couple they couldn’t afford their first acquisition, “Peones” by Ricardo Martinez (Lot 67 and pictured opposite this page), but Sam had fallen in love with it.

He negotiated with the gallery owner and bought the painting “over time” with a series of payments. It remained one of their favorite pieces throughout their lives.

Sam was a lifelong learner with a passion for philosophy.

He earned a BA in philosophy in 1954 from Southern Methodist University and later earned a Ph.D. in philosophy at The University of Chicago. But, Sam was also a natural businessman, and pursued a career as a real estate developer in Austin, Texas. Later, seeking to diversify his

investments, Sam founded Centex Communications, Inc., one of the earliest mobile communications companies in central Texas.

Val and Sam shared a passion for nature and enjoyed camping, hunting and hiking. From duck hunting at The Port Bay Club to dove hunting in South Texas, the couple was happiest when out in nature together.

A serious amateur photographer himself, Sam traveled regularly to West Texas to capture the rugged beauty of Big Bend National Park.

Sam and his beloved wife Valerie’s fine art and photography collection is a reflection of both Sam’s discerning eye and the couple’s shared love of art and nature. They traveled regularly to Santa Fe, where they enjoyed perusing the many galleries there. Sam was an early fan of Ansel Adam’s work and became a passionate collector of his photographs, some purchased "for a song". He also discovered other, lesser known Santa Fe photographers and artists and was open to whatever spoke to him. Valerie was also a collector, but more focused on woodprints, folk art and pottery. Over the years, they acquired a diverse and eclectic collection of art and photography.

New Orleans Auction Galleries is honored to offer f ine art f rom The Collection of Valerie Sellors and Samuel Ellis Dunnam, IV.

Gallier James Capdevielle (1883 - 1943)

Isabelle Fourgette Capdevielle (1883 - 1968)

New Orleans Auction Galleries is pleased to offer property from The Estate of Dr. Kenneth McLeod, Jr., the great-great-grandson of legendary architect James Gallier, including jewelry, memorabilia and more descended in the family of Isabelle Fourgette and Gallier James Capdevielle.

Isabelle Fourgette & Gallier James Capdevielle Gallier James Capdevielle was born in New Orleans on June 12, 1883. He was the son of Pierre Armand Capdevielle (1851-1913), editor of the French language newspaper L’Abeille de Nouvelle Orleans (New Orleans Bee), and Francoise Josephine Gallier (1858-1909). His mother was the daughter of famous New Orleans architect James Gallier (1827-1868), and his uncle was New Orleans mayor Paul Capdevielle (18421922). He was educated in New Orleans and worked initially as an accountant. He married Isabelle Fourgette (1883-1968) in New Orleans on November 11, 1904, and the couple moved to Manhattan where Capdevielle worked for the Internal Revenue Service during the First World War and later as an investment broker on Wall Street.

He also was a founding partner of Dixie Steel. He returned to New Orleans after the Depression, where he became a prominent insurance broker. He died on May 4, 1943 and is buried in St. Louis Cemetery #3.

Property From

The Claiborne-Humphreys Mansion 905 Esplanade Avenue, New Orleans, Louisiana

The history of the Claiborne family is intertwined with the history of the United States and particularly with the history of New Orleans and Louisiana.

William C. C. Claiborne was the f irst American governor of the Louisiana Territory, consisting of the vast portion of America acquired through the Louisiana purchase during the administration of his friend and political ally, President Thomas Jefferson. Claiborne was elected Louisiana’s f irst governor in 1812 and re-elected in 1816. He was elected to the United States Senate in 1817, but died later that year.

Governor Claiborne was born in Virginia in 1775. His father was Colonel William Claiborne, who served in the Continental Army during the long struggle for independence. He was descended f rom William Claiborne, who was the f irst surveyor of the Virginia plantations and landed in Jamestown in 1621.

Governor Claiborne was a precocious student at William and Mary College and graduated as valedictorian at the age of fifteen. He became the assistant to John Beckley, the first Clerk of Congress, sitting in Philadelphia. He knew Vice-President John Adams and Secretary of State Thomas Jefferson and was a friend and associate of Colonel John Sevier of Tennessee. At Sevier’s suggestion, Claiborne moved to Tennessee where he practiced law and helped to draft the state constitution. When Sevier became Tennessee’s f irst governor, he appointed Claiborne as Chief Justice of the Tennessee Supreme Court.

Chief Claiborne was not yet twenty-two years old.

In 1801, the settlers in the Mississippi Territory asked that their governor be replaced. Jefferson appointed Claiborne, who governed f rom Natchez for two years until Jefferson appointed him Governor-General of the Province of Louisiana.

In that capacity, he was in New Orleans on December 20, 1803 to receive, on behalf of the United States, the transfer by France of the lands covered by the Louisiana Purchase.

From New Orleans, Governor Claiborne oversaw a territory whose boundaries were unknown. When he became Governor, the new state of Louisiana was still the “frontier”.

New Orleans was threatened with invasion by envious England, with insurrection by French and Spanish residents

who had suddenly become Americans and with raids by Native Americans who still surrounded the city.

Governor Claiborne’s f irst wife and young daughter accompanied him f rom Tennessee to New Orleans, where they both died f rom yellow fever. They died on the same day in 1806 on which his brother-in-law was killed in a duel, a common hazard in those days when Americans encountered Creole culture and resentment. Claiborne almost died f rom yellow fever himself, but he avoided the hostility of New Orleans’ Creole community and, in 1806, married the daughter of a prominent Creole family. His second wife, Clarisse Duralde, was descended f rom French and Spanish settlers. Her father was a Spanish off icer who served at the Attakapas Post. Her sister was married to John Clay, Henry Clay’s brother.

Governor Claiborne and Clarisse Duralde had one son, William C. C. Claiborne II, born in New Orleans in 1808. Clarisse Duralde Claiborne died in 1809. Their son grew up at Ashland, Henry Clay’s home in Lexington, Kentucky. While living in Paris in 1832, William C. C. Claiborne II met and married Louise de Balthier, daughter of a family of the ancien regime.

They returned to New Orleans where their ten children were born. Their ninth child, grandson of Governor Claiborne, was Charles Ferdinand Claiborne, born in New Orleans in 1848.

Charles Claiborne spent his life in New Orleans. As a member of Gribet’s Battery, he participated in the notorious battle of September 14, 1874, which was fought at the foot of the statue of his father’s f riend Henry Clay, the same statue that now stands in Lafayette Square. He was appointed Judge of the Louisiana Court of Appeals in 1913. He was a member of the City Council and ran for mayor against Martin Behrman in 1912. Judge Claiborne married Amelie du Fossat in New Orleans in 1875. The couple had seven children.

Claiborne purchased his home at 905 Esplanade Avenue in 1894 f rom Francois Gardere, a Baton Rouge sugar planter who had built the house in the 1830s. New Orleans Auction Galleries is pleased to offer pieces f rom the historic Claiborne-Humphreys Mansion on Esplanade Avenue, including an exceptional French clock set, several impressive gasoliers and extraordinary Black Forest items.

Garland Bonner Howard as Queen of the No-Tsu-Oh Carnival, Houston, Texas, 1912

p r o p e r t y d e s c e n d e d i n t h e fa m i ly o f

garland bonner howard Houston, Texas

Garland Bonner was born in 1894 into one of Houston’s most prominent and influential families.

Her father, Benjamin Franklin “B.F.” Bonner, was born in 1869 to Matilda Blackburn and William Henry Bonner in Angelina County, Texas. When Bonner was only three years old, his father moved the family to a point on the Neches River to establish “Bonner’s Ferry”, which provided an eff icient route between Angelina and Trinity counties. During his formative years, he operated his parent’s ferry and then began working for his brother’s mercantile, banking and lumber businesses in Lufkin. Those years provided him with the knowledge that would later drive his own successful ventures. Bonner married Annie Wier, daughter of a prominent Louisiana planter and brother to Texas lumber pioneer Robert Withrow Wier, in 1891.

As with many early Texas businessmen, B.F. Bonner was involved in the lumber and oil industries. After moving to Houston in 1894, he quickly rose through the ranks of Joe Davis Oil Company. When Mr. Davis died in 1896, Bonner became the driving force behind the business, ultimately purchasing the company and renaming it Southwestern Oil Company. He is credited with opening the f irst oil ref inery in Houston and the f irst lubricating oil plant in the South.

In 1901, Bonner established Bonner Oil Company. By 1904, he had become Vice President and General Manager of Kirby Lumber Company, eventually serving as President f rom 1919-1923. Kirby Lumber was arguably the largest corporation of its kind in the United States at the time.

Bonner assisted his brother-in-law, Robert W. Wier, in creating R.W. Wier Lumber Company in 1907. In 1917, he helped develop Wier Long Leaf Lumber Company and was instrumental in establishing The Gulf and Northern Railway Company that same year, serving as President until 1926. The railroad allowed for the efficient transport of timber to key shipping points and resulted in a boom for Texas timber. Bonner continued to serve as Vice President for Wier’s lumber companies until 1944.

Bonner helped organize the San Jacinto Trust Company and San Jacinto National Bank, serving as Vice President of the trust company and a director of the bank. He also served as a board member of the Houston Belt & Terminal Railway and Methodist Hospital.

Her father’s successes and family’s deep Texas roots allowed Garland Bonner access to Houston society. She attended school in Houston, and then studied at the Baldwin School in Pennsylvania for two years before pursuing a course in music at Comstock School in New York.

Garland’s mother, Annie Wier, also came f rom a notable background. Annie’s father, Thomas Dabney Wier was a prominent planter in Louisiana and known as one of the “most cultured” men in the state. Her mother’s family was also related to David Stuart Wier, a soldier in the Third Regiment during the Revolutionary War, and John C. Calhoun, former Vice President of the United States.

In 1912, Garland was honored as Queen of the annual No-Tsu-Oh Carnival in Houston, one of the most important social events of the time. Her father had served as King in 1903. Along with a summary of the family’s extensive accomplishments, an announcement reads: “Miss Bonner is a typical American girl, and one of Houston’s fairest daughters, her unspoiled girlishness and unaffected sweetness of disposition winning for her the loyal devotion of many f riends.”

Garland married George Francis Howard in 1914. Howard was born in Palestine, Texas in 1899 and attended the University of Washington and the University of Texas before joining the Houston law f irm of Townes, Vinson & Howard. He later served as secretary and treasurer of Beaumont Shipbuilding and Dry Dock Company, and as Vice President and General Manager of the Gulf & Northern Railway, his father-in-law’s lucrative venture.

George Howard was appointed Secretary of State in 1917 by Governor William P. Hobby, which notably made him one of the youngest people appointed to such a high-ranking government position in any state at the time. Howard’s impressive political path was undoubtedly influenced by Garland’s father, an influential voice in Houston politics, and grandfather, W. H. Bonner, a lawyer and an early member of the Texas State Legislature.

New Orleans Auction Galleries is honored to offer a selection of furniture descended in the family of Garland Bonner Howard.

Session I Saturday, June 5 Lots 1-417 PICTURED: LOT 168

1 Continental Polychromed and Scenic-Decorated Cabinet 19th century, the molded overhanging cornice above a pair of framed and paneled doors, each with painted European landscape and seascape scenes, the interior fitted with shelves. h. 92”, w. 52”, d. 23” $1,000-$1,500 2 Venetian Polychromed and Scenic-Decorated Cabinet early 20th century, the upper frieze fitted with a drawer above a pair of shaped doors with painted floral sprays in each corner, centered by a European seascape, raised on tall cabriole legs. h. 60”, w. 30”, d. 15-1/2” $1,200-$1,800 3 Pair of Italian Giltwood and Tole Candelabra mid-20th century, the five-light candelabra on leaf-carved and giltwood urn-form bases with green fluting, set with green tole candle branches terminating in giltwood candle cups with fluted tole drip pans, now electrified and mounted with shades. h. 43-1/2”, w. 19”, d. 5-1/2” $1,500-$2,500

1

2

2

3

4 Imposing Italian Carved and Parcel-Gilt Wood Bust of a Bishop Saint mid-19th century, with a painted face and flowing beard, wearing the traditional mitre, his carved robes decorated with incised flowers and leaves. h. 36-1/2”, w. 18-3/4”, d. 11-1/2” $1,500-$2,500

4 5 Pair of Italian Carved Giltwood Column-Form Pedestals fourth quarter 19th century, the pedestals with Corinthian capitals, the lushly decorated, robust rope-twist columns carved with bunches of grapes and grape leaves. h. 49”, w. 8-1/2”, d. 8” $1,200-$1,800 6 Pair of Continental Walnut Demi-lune Tables 18th century, each with shaped scroll-cut legs joined by stretchers, designed for use as a pair of console tables or to be joined together to form an oval table. h. 32”, w. 56”, d. 19-1/2” $1,200-$1,800

5

6

3

7 Provincial Louis XV-Style Carved Fruitwood Buffet a Deux Corps 19th century, with a removable carved cornice molding above a foliate-carved frieze centered by a shell, with two glazed doors, each with a lower framed and carved panel, the base with a pair of side-by-side drawers over a pair of framed and carved cabinet doors, raised on cabriole legs, the whole reliefcarved throughout. h. 102”, w. 55”, d. 24-1/2” $2,000-$4,000

8 Provincial Louis XV Walnut and Marble-Top Buffet ca. 1800, the marble top with a molded edge, above a case with a pair of drawers over a pair of doors, the doors with shaped panels and foliate carving at the corners, on a plinth base. h. 46-3/4”, w. 73”, d. 25-1/2” $1,000-$1,500

7

8

4

9 George III-Style Figured Walnut Armchair early 20th century, the back with rounded shoulders and a central shaped splat, the curved arms with scrolled hand grips, raised on cabriole legs with shell-carved knees and ending in ball-and-claw feet, the slip seat retaining an early needlepoint covering. h. 40”, w. 26-1/2”, d. 31” $700-$1,000 10 Italian Walnut and Marble-Top Bowfront Commode 18th century, in the rococo taste, the period marble top with a molded edge, on a case with a bowfront bank of three drawers, each with swag-carved panels, the drawers flanked by a foliate-carved central panel and a curved section wrapping to the sides, the drawers rebuilt. h. 31”, w. 46”, d. 22” $1,200-$1,800

9

10

11 Pair of Carved Wood and Metal Figural Candelabra 19th century and later, mounted with carved and painted 19th-century figures of angels supporting cornucopia, with scrolled pricket candlesticks decorated with molded leaves and flowers, on acrylic bases. h. 21-1/2”, w. 7”, d. 5” $1,500-$2,500

11

5

12 Pair of Continental Carved Architectural Fragments 18th century and later, now mounted as lamps, the arabesque-carved pine panels mounted with neoclassical wooden trim, on acrylic bases. h. 28”, w. 9”, d. 5-1/4” $1,000-$1,500

12

13 Spanish Renaissance-Style Carved Walnut Secretary Bookcase 18th century and later, the upper case with a double-crested top, each with carved flower brackets and flanked by turned f inials, above a pair of carved doors, the base with a slant lid opening to an elaborate fitted interior and the front with five long drawers, the whole profusely carved, the inside right door bearing a hand-written Spanish paper inscription. h. 95”, w. 48”, d. 24” $3,000-$5,000

13

6

15

15 Pair of Continental Patinated Metal Chandeliers

14 Pair of Italian Carved and Parcel-Gilt Wood and Marble Figural Pedestals

the eight-light chandeliers with scrolled f rames decorated with molded leaves and scrolled candle arms, set with lobed drip pans. h. 29”, dia. 37-1/2”

20th century, in the baroque style, the shaped portoro marble tops above standards with polychromed and parcel-gilt figures of courtiers against carved and pierced scrollwork, and standing on portoro marble bases. h. 40-3/4”, w. 38-1/4”, d. 11”

$1,000-$1,500

$2,500-$4,000

14

7

16

16 Pair of Italian Baroque Carved and Painted Wood Reliquary Busts 17th century, comprised of a male and female bust, the male likely Saint Philip Neri, each with a glass-covered, gilt-framed aperture, their robes silver gilt, the bases carved with winged angel heads, the male with an old inscription on rear dated 1623. h. 36-1/2”, w. 12-1/2”, d. 7” $2,000-$4,000

17 Continental Carved and Parcel-Gilt Wood Reliquary Bust of a Young Male Saint second half 18th century, with a painted head and a gilded robe and base, the aperture with carved scrollwork, the base with a carved medallion. h. 19”, w. 9”, d. 3-1/4” $1,200-$1,800

17

88

18 Carved and Painted Sarcophagus-Form Religious Architectural Element second quarter 19th century, the upper portion painted with Siena faux marbre, the base with portoro faux marbre, with parcel-gilt trim, the facade with a cartouche reading “SSMI” Sisters Servants of Mary Immaculate. h. 24-1/2”, w. 36-3/4”, d. 14-3/4” $1,500-$2,500 19 Suite of Three Italian Renaissance-Style Parcel-Gilt Walnut Hall Chairs

18

each with a pierced asymmetrical carved finial, open scrollcarved splats, square legs joined by a stretcher with like carving, and needlework seats. h. 58” $1,000-$1,500 20 Continental Neo-Renaissance Painted and Parcel-Gilt Bench 19th century, the cushion retaining its antique leather, velvet and gimp covering, the apron with shell and scroll carving, on a trestle-form base with scroll legs joined by a scalloped stretcher. h. 19-1/2”, w. 31”, d. 18”

20

$800-$1,200

19

9

21 Italian-Flemish School (Fourth Quarter 16th/First Quarter 17th Century) “Ecce Homo” oil on wood panel unsigned, various labels en verso including a mid20th-century one titled and attributed to the Cologne School in German, and a late 19th-century “Kunstpalast, Dusseldorf ” one.

39-3/8” x 31-7/8”, framed 48-5/8” x 39” $2,000-$4,000

22 Italian School (Second/Third Quarter 17th Century) “The Sacrifice of Isaac” oil on linen unsigned, titled in English and French on stretcher, Spanish newsprint on frame backing.

Framed.

19” x 26-1/8”, framed 23-1/4” x 30” $1,800-$2,500

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23 Follower of Bartolome Esteban Murillo (Spanish, 1617-1682) “Infant St. John the Baptist with Lamb” oil on canvas unsigned.

Framed.

14-3/8” x 11-5/8”, framed 22” x 19” $2,000-$4,000

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24 After Raphael (Raffaello Sanzio, Italian, 1483-1520) “Christ Falling on the Way to Calvary (1514-1516)”, ca. 1700 oil on canvas unsigned.

Unframed.

15-1/4” x 11-3/4” $3,000-$5,000

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11

25 Spanish Iron and Brass Savonarola-Style Chair/Bench 19th century, the wrought iron frame with a curved seat and shaped legs joined by stretchers, the arms with turned brass ball-form finials. h. 26”, w. 26”, d. 18-1/2” $1,000-$1,500 26 Italian Carved Walnut Coffer in the Baroque Taste fourth quarter 19th century, the sides decorated with arabesque leaf carving on a stippled ground, the corners with winged gargoyles, the dragon-carved and molded hinged cover opening to reveal an interior with a pair of tills with carved and hinged covers. h. 16-1/2”, w. 27”, d. 16” $1,200-$1,800

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27 Cast Bronze and Marble-Top Console Table in the Neoclassical Taste 20th century, the conforming rectangular marble top above three X-form legs joined by a turned stretcher. h. 34”, w. 56”, d. 16” $1,000-$1,500

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28 Contemporary Leather-Upholstered Ottoman the circular cushion on a conforming base, upholstered in apple green leather. h. 18-1/2”, dia. 42-1/2” $1,000-$1,500

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29 Contemporary Upholstered Sofa with a tufted rolled back, rolled arms and concave front, fitted with a pair of loose seat cushions, the back and arms ended with tassels, the hem with richly layered tassels and fringe, upholstered in Scalamandre “La Peruse” lampas and dressed with a Fortuny pillow and two Mongolian lamb pillows. h. 32-3/4”, w. 72”, d. 36-1/2” $1,200-$1,800

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30 Contemporary Upholstered Sofa with a tufted rolled back, rolled arms and concave f ront, f itted with a pair of loose seat cushions, the back and arms ended with tassels, the hem with richly layered tassels and f ringe, upholstered in Scalamandre “La Peruse” lampas and dressed with a Fortuny pillow and two Mongolian lamb pillows. h. 32-3/4”, w. 72”, d. 36-1/2” $1,200-$1,800

30 detail

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32 Wolf Kahn (German/New York, 1927-2020) 31 Venetian Polychromed and Parcel-Gilt Console Table

“Orange Hill”, 1982

20th century, the shaped top with a molded and gilt edge, the aprons pierced and carved, raised on cabriole legs ending in scrolled toes. h. 32”, w. 73”, d. 19”

oil on canvas signed lower left, dated and numbered “#48” en verso, titled in pen ink on stretcher.

Framed.

28” x 37-1/2”, framed 29” x 39”

$1,000-$1,500

Provenance: Garner & Smith Gallery, Austin, Texas; The Collection of Samuel Ellis and Valerie Sellors Dunnam, Austin, Texas. $25,000-$40,000

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33 Italian Polychromed and Parcel-Gilt Sofa ca. 1900, in the 18th-century rococo taste, the molded, arched back joined to shaped arms with scroll ends, raised on cabriole legs with carved knees and ball-and-claw feet, joined by scalloped stretchers, now in striped upholstery with a seat cushion. h. 38-3/4”, w. 72”, d. 20-1/2” $1,200-$1,800

34 Imposing Italian Venetian Engraved Glass Mirror 20th century, the octagonal mirror plate framed with blown glass rope-twist and flower-form trim, the surround decorated with scrolled engraving, with a triple arched crest with blown glass flowers and rocaille work, the lower section decorated to match. h. 64-1/4”, w. 37-1/4” $1,000-$1,500

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35 Pair of Continental Carved, Painted and Parcel-Gilt Wooden Urns ca. 1900, now mounted as lamps, the neoclassical-style carved and fluted urns trimmed in sky blue paint, and mounted with scrolled handles and medallions, electrified and mounted with shades. h. 31”, dia. 15” $1,500-$2,500

36 Italian Polychromed Commode 18th century, the serpentine faux marble top over a case with a single drawer, with a scalloped apron, raised on cabriole legs decorated in floral and arabesque polychromy, the drawer with a central panel depicting a lady in a floral garden. h. 32-3/4”, w. 40”, d. 18”

36

$1,000-$1,500

37 37 Monumental Baroque-Style Giltwood and Tole Candelabra f irst quarter 20th century, the carved and pierced candelabra decorated with a central rocaille-trimmed roundel flanked by cornucopia set with leaves and flowerheads in a scrollwork surround, and terminating in tole candle cups with fluted drip pans. h. 34-1/2”, w. 40-1/2”, d. 7”

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16

$1,500-$2,500

38 Monumental Italian Baroque-Style Giltwood and Tole Candelabra first quarter 20th century, the carved and pierced candelabra decorated with central rocaille-trimmed rondels framed with cornucopia, set with leaves and flowerheads in a scrollwork surround, terminating in tole candle cups with fluted drip pans. h. 34-1/2”, w. 40-1/2”, d. 7” $1,500-$2,500 39 Continental Painted Metal Chandelier in the Provincial Taste third quarter 20th century, the eight-light chandelier with a spiral-twist frame decorated with molded leaves, the scrolled arms set with pierced foliate-form candle cups. h. 50-1/2”, dia. 39” $1,000-$1,500

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38 40 Diminutive Italian Polychromed Side Table 19th century, the top, sides and three drawer fronts with floral decoration, raised on squared, shaped legs. h. 34-1/2”, w. 19”, d. 15-1/2” $1,000-$1,500

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41 Anna Mary Richards Brewster (American, 1870-1952) “Portofino” oil on canvas signed lower right.

Framed.

13” x 9”, framed 17-3/4” x 14” $1,000-$1,500

42 Anna Mary Richards Brewster (American, 1870-1952) “Camogli [Italy]”, 1933 oil on canvas unsigned, titled and dated on brass artist plaque, and on label on stretcher.

Framed.

14” x 18”, framed 18” x 21-5/8” $1,000-$1,500

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43 Anna Mary Richards Brewster (American, 1870-1952) “Via Dolorosa Jerusalem”, 1933 oil on canvas signed lower left, titled and dated on brass artist plaque.

Framed.

18” x 13”, framed 21-5/8” x 16-1/2” $1,000-$1,500

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44 Anna Mary Richards Brewster (American, 1870-1952) “The Vega in Grenada” oil on canvas signed lower left, titled on artist plaque, on handwritten label on f rame, and on “Hollis Taggart Galleries, New York” label.

Framed.

23-1/4” x 17”, framed 29-5/8” x 21-5/8” $1,000-$1,500

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19

45 Biedermeier Burl Walnut, Fruitwood and Banded Occasional Table 19th century, the circular banded top raised on a lyre-form pedestal joined to a shaped base on bun feet. h. 29”, dia. 20” $1,000-$1,500

46 Pair of Handsome Italian Siena and Black Marble Obelisks first quarter 19th century, composed of Siena marble plinths and obelisks with carved black marble trim, the plinths with inset oval lapis lazuli plaques. h. 21-1/2”, w. 4-1/4”, d. 4-1/4” $1,000-$1,500

47 Louis XVI-Style Polychromed and Parcel-Gilt QueenSize Bedstead

45

ca. 1900, with a padded headboard and footboard, the arched frames with swirl-carved details, the headboard posts with pineapple-form finials. h. 54”, inside w. 60”, l. 80”, outside w. 65”, l. 84” $2,500-$4,000

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48 Italian Neoclassical-Style Polychromed Commode the top with a raised and molded edge above a pair of long drawers and raised on square tapered and fluted legs, the top, drawer fronts and sides fitted with inset glass panels over a crackled and distressed painted surface. h. 34”, w. 43-1/2”, d. 21” $1,000-$1,500

49 Pair of Louis XVI-Style Polychromed Fauteuils 19th century, with carved and molded frames, raised on turned and stop-fluted legs, pegged construction throughout. h. 35”, w. 22-1/2”, d. 19” $1,000-$1,500

48

49

50 Handsome French Belle Epoque Marble and Gilt-Bronze Lamp fourth quarter 19th century, in the Louis XV style, the mauve and white Fleur de Pecher marble lobed urn-form base mounted with gilt-bronze scrollwork, raised on gilt-bronze paw feet on a tripartite marble base with bronze trim, mounted with a shade. h. 32”, w. 18-1/4”, d. 18-1/4” $1,200-$1,800

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51 51 Pair of Louis XV-Style Polychromed and Parcel-Gilt Demilune Consoles 20th century, each with a Brescia Violet marble top over a frieze with foliate carving and a dentillated lower rim, raised on fluted tapering circular legs with leaf carving at the top and bottom. h. 33-1/2”, w. 47”, d. 20-1/4” $2,000-$4,000

52 Italian Bronze and Marble-Top Side Table early 20th century, the circular marble top with a pierced brass gallery and mounted to the bronze figure of Silenus, after the 1st Century BCE Roman bronze standard discovered in 1864 in the ruins of Pompeii and now conserved at the Museo Archeologico Nazionale, Naples. h. 28”, dia. 17-1/2” $1,000-$1,500

52

53 Pair of French Belle Epoque Marble and Bronze Urns fourth quarter 19th century, now mounted as lamps, the Louis XV-style mottled gray and tan Breche orientale de Baixes marble urns mounted with bronze ram’s-head handles supporting swags of flowers, the bases with bronze leaf-molded trim. h. 28-1/4”, w. 8”, d. 5-1/2” $1,500-$2,500

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55 54 Baltic Ebonized and Parcel-Gilt Mahogany Armchair early 19th century, in the Neoclassical Empire taste, the scroll-top stiles joined by a foliate-carved turning, the arms on figural-carved supports with inlaid panels below and like panels on the curved bracket joining the stiles and side rails. h. 39”, w. 24-1/2”, d. 25” $1,000-$1,500 55 Studio of Pierre Mignard I (French, 1612-1695) “Portrait of a Lady as Venus Accompanied by Cupid” oil on canvas unsigned, three loan/inventory labels from the Museum of Fine Arts, Boston on stretchers (one of which includes the name “Mrs. Greely Curtis) and remnants of an old red wax seal.

Unframed. original canvas 37-1/2” x 50-1/2”, stretchers 38-3/8” x 51-1/4” Provenance: With Mr. Greely Stevenson Curtis as a portrait of "Nell Gwynne", before 1895; thence by descent; to the sale of Harriet Appleton Curtis' property, sold as "Portrait d'Anne Louise de Bourbon", Christie's, London, 29 November 1975; Bonhams, Knightsbridge, London, April 25, 2001, lot 293; Private collection, Atlanta, Georgia.

Exhibited: Loan Collection of Portraits of Women for the Benefit of the Boston's Children's Aid Society, and Sunnyside Day Nursery, March 11-March 31, 1895, no. 195; Presumably loaned two times to the Museum of Fine Arts, Boston in ~1915/16 and then again in the early 1960s.

Photographed in 1923 in situ in the dining room of the Greely Stevenson Curtis House, 28-30 Mount Vernon St., Boston, Massachussets, published in the Historic New England, "Domestic Interiors Photographic Collection", no. GUSN167577

54

$5,000-$8,000

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56 Swedish Neoclassical Polychromed Demi-lune Console Table late 19th century, the overhanging top above a frieze painted with grapevines, and supported by three curved legs with swan’s heads and joined by paneled stretchers centered by an urn finial. h. 30”, w. 27”, d. 15” $1,400-$1,800

56

57

57 Pair of French Belle Epoque Bronze and Marble Figural Candlesticks fourth quarter 19th century, in the Louis XVI taste, now mounted as lamps, the fluted marble bases supporting crouching patinated bronze putti with cornucopia-form candle arms set with gilt-bronze candle sockets, now electrified and mounted with shades. h. 30-1/2”, w. 7-3/4”, d. 5-3/4” $1,000-$1,500

56 detail

24

59 Pair of Continental Carved and Parcel-Silver-Gilt Altar Sticks fourth quarter 18th century, now mounted as lamps, the vasiform standards on leaf-carved and fluted tripartite bases, the bases carved with Iron Crosses, the candle cups with fluted tole drip pans, now electrified and mounted with shades. h. 36”, dia. 19” $1,000-$1,500

59

58 Italian King-Size Upholstered Headboard, Draperies and Corona the 19th-century corona deeply carved and highlighted with silver-leaf details, the padded headboard with a scrolled crest and accompanied by matching draperies. overall h. 135”, headboard h. 84”, w. 83” $1,500-$2,500

58

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60

61

60 Italian Baroque Carved and Painted Torchere fourth quarter 19th century, now mounted as a floor lamp, with a tripartite scroll-footed base carved with winged angel heads, the turned standard fluted and leaf-carved, and terminating in a wide leaf-carved drip pan, mounted with a shade. h. 82”, dia. 22-1/2” $1,400-$1,800 61 Petite Venetian Polychromed Secretary Bookcase ca. 1900, in two parts, the upper section with an arched crest centered by a giltwood masque, over a pair of paneled doors, on a slant-lid base with a bank of three drawers, raised on cabriole legs, ornamented throughout in floral, urn and vine polychromy on a mustard ground. h. 72-1/2”, w. 28”, d. 17-1/2” $1,500-$2,500

61 detail

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62 Pair of Louis XVI-Style Giltwood Bergeres 20th century, each with a guilloche-carved crest rail extending to closed arms with scroll ends, on supports extending to a round seat, fluted apron and raised on scroll legs with foliate-carved decor, in gold damask with loose seat cushions. h. 38-1/2” $1,500-$2,500

63 Elaborate Louis XVI-Style Bronze Firescreen first quarter 20th century, French, decorated with a central dancing nymph flanked by molded swags and scrollwork, the crest with a leaf-molded scrolled handle, raised on scrolled feet with molded bellflowers. h. 32-3/4”, w. 26”, d. 10-1/2” $1,000-$1,500

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62

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64 Louis XVI-Style Polychromed and Parcel-Gilt Center Table

65 Pair of Louis XVI-Style Polychromed Bergeres

20th century, the rectilinear Brescia marble top over a conforming frieze with gilt foliate and scroll carving on a cream ground, raised on fluted legs with leaf-carved capitals and bases, the joined demi-lune guilloche-carved stretchers centered by an urn with floral swags. h. 32-1/2”, w. 54-3/4”, d. 35-1/8”

19th century, each back with a molded f rame extending to closed arms with foliate-and scroll-carved ends, on reeded supports with like rails and tapering legs, now upholstered in Scalamandre cinnabar “Melograno” with loose seat cushions. h. 38-1/4” $1,200-$1,800

$2,000-$4,000

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66

66 Priscilla Robinson (American/New Mexico, b. 1948) “Rise and Fall”, 1988 wax and oil on canvas laid down on carved wood panel signed lower right.

Fitted for hanging.

46” x 52” Provenance: R. S. Levy Gallery, Austin, Texas; The Collection of Samuel Ellis and Valerie Sellors Dunnam, Austin, Texas. $1,000-$1,500

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67

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Ricardo Martinez, a quiet man in life, spoke volumes in his art. A pivotal f igure in 20th century Mexican art, his work is a unique blend of magical realism and costumbrista painting that explores the mundane and the spiritual of Mexican culture through the human body: monumental and suspended or folded inward in repetition, Martinez transfigures the terrestrial world into physical manifestations of the celestial one that recall the cosmos and ethos of the nation and its Pre-colonial past.

67 Ricardo Martinez (Mexican/Texas, 1918-2009) “Peones”, 1954 oil on canvas signed and dated lower left.

Framed.

59” x 36”, framed 66” x 43” Provenance: Purchased in February 1955 from Galeria de Arte Mexicano, Mexico City, Mexico; Collection of Samuel Ellis and Valerie Sellors Dunnam, Austin, Texas; thence by descent.

Literature: This work will be included in the Fundacion Ricardo Martinez catalogue raisonne. $75,000-$125,000

Martinez was born into a large, artistically gifted family with sixteen children in Mexico City. At the age of nine, his family moved to San Antonio, Texas, exposing the young Martinez children to the English language and literature. With the onset of the Great Depression, the family moved back to Mexico City, and Martinez began drawing and painting to help the family. His innate talent drew the attention of his elder brothers Jorge- an architect, and Oliviero, a sculptor- who taught him the basics of painting and enlisted his assistance with drawings for the "Monument to the Revolution". Following Martinez's graduation from High School in 1938, he enrolled to study law at the Autonomous University of Mexico, but left within a month to pursue art at the Academy of San Carlos- an even shorter lived venture that lasted but a day. In 1940 Martinez set up a studio in his parents' home and began "teaching himself" through Mexican and European art books and the English manual, The Materials of the Artist Max Doerner. Martinez's early paintings-experiments in the compositional technicality of still-lifes and landscapes-merged elements of works by the Mexican Muralists, Picasso and Surrealism. While his subjects recall Muralist's depictions of peasants and Mexico's pre-colonial history, the spatial dislocation and tonal, monochromatic colors elucidate compositions more akin to Surrealism.

This unique painting, of two brick layers, proletarian pawns of industry, represents some of Martinez's strongest costumbrista-influenced oeuvre. Produced between 19541958, these works celebrate the everyday life of the peasantry and proletariat. In Martinez's evocation of the "forgotten laborer" through large, imposing f igures that recall the monumentality of Pre-Columbian statuary and the social realism of the Mexican Muralists, he evokes the spirits of the past. The repetition of carrying bricks as an adobe “borro”, one of the most menial forms of manual labor is aggrandized. The massive f igures, f rozen in perfect juxtaposition with skin the color of the earthen bricks they carry, blend into the nebulous background of the same hue, recalling the Pre-Columbian builders of the ancient pyramids and ballcourts.

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68 Rufino Tamayo (Mexican, 1899-1991) “Demi Poisson” lithograph in colors signed lower right, numbered “100/150” lower left, verso with “Garner & Smith Gallery” label.

Matted, glazed and framed. sight 21-1/2” x 27-1/2”, framed 29” x 35-1/2” Provenance: Garner & Smith Gallery, Austin, Texas; The Collection of Samuel Ellis and Valerie Sellors Dunnam, Austin, Texas. $1,400-$1,800 69 Lamar Briggs (American/Louisiana, 1935-2015) “El Codobbes Cuts an Ear” oil on canvas board signed lower left, titled lower center.

Framed.

20” x 16”, framed 26” x 22” Provenance: James Bute Gallery, Houston, Texas; The Collection of Samuel Ellis and Valerie Sellors Dunnam, Austin, Texas. $800-$1,200

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69

70

70 Hiroyuki Tajima (Japanese, 1911-1984) “Living Wall”, “The Scarlet Monument” and “Vestigum VacuiErosion”, ca. 1970 three woodblock prints in color each signed, titled, numbered and dated in lower margins.

Each matted, glazed and framed. sights 18” x 23-1/2”; 35” x 22”; 13” x 9-1/2”, respectively; f ramed 25” x 30”, 40” x 29”; 21-1/2” x 17” Provenance: The Collection of Samuel Ellis and Valerie Sellors Dunnam, Austin, Texas. $1,000-$1,500

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71 Dorothy Hood (American/Texas, 1919-2000) “Untitled” collage on paper signed lower right.

Float mounted, glazed and framed.

19-1/2” x 15-1/2”, framed 30” x 26” $2,000-$4,000

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72 Dorothy Hood (American/Texas, 1919-2000) “Untitled” collage on paper signed lower left.

Float mounted, glazed and framed.

20” x 16”, framed 29-1/2” x 25” $2,000-$4,000

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73 Pair of Venetian Cage-Blown Amber Glass Pendant Lights 1960s, hand-blown within a wrought metal cage with removable top, one example labeled “Venetian Glass/ BALBOA/Hand Made in Italy”, both electrified. h. 18”, dia. 17-1/2” $1,000-$1,500

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74 Rare T. H. Robsjohn-Gibbings Model 1626 Walnut Dining Table 1950, for Widdicomb, with two draw-end leaves, labeled “Widdicomb/designed by/T. H. Robsjohn-Gibbings” and stenciled “9/50/1626”. h. 29-1/2”, w. 40”, l. 66”, extended l. 96” Provenance: Estate of Sheila Wilkinson Williams, Lake Vista, New Orleans, Louisiana. $1,200-$1,800

74 detal

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75 Tommi Parzinger for Charak Modern Four-Door Cabinet third quarter 20th century, with tooled leather top, sides and door faces, each pair of doors opening to reveal a drawer over a shelf and each with a lacquered brass ring pull, on a maple base, retaining a “Charak Modern” stenciled label. h. 33”, w. 64-1/2”, d. 16” $2,000-$4,000

76 Rare T. H. Robsjohn-Gibbings Stoneware Planter mid-20th century, in the form of a stylized bust and fitted with a conforming copper liner, on a tapered oak plinth. h. 15-1/2", w. 10-1/2", d. 8-3/4", plinth h. 6" Provenance: Estate of Carol A. Straus, Houston, Texas. $1,000-$1,500

76

77 Mid-Century Modern Maple Ottoman second half 20th century, the design attributed to T. H. Robsjohn Gibbings, the upholstered cushion supported at each end by maple legs, joined in the form of a stylized “A”, unmarked. h. 17-1/2”, w. 25-3/8”, d. 23-1/2” $1,000-$1,500

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75

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78 Rare T. H. Robsjohn-Gibbings Brass Torchere mid-20th century, the kylix-form shade with four centered interior sockets, supported on a tubular standard and resting on a mounded base reflecting the shade design. h. 71-1/4”, shade dia. 20” Provenance: Estate of Carol A. Straus, Houston, Texas. $1,000-$1,500 79 Pair of T. H. Robsjohn-Gibbings Brass Table Lamps mid-20th century, with square brass bases and tubular stems supporting three sockets, the center sockets stamped “Leviton” and now fitted for upright glass shades. base h. 18”, w. 3-5/8”, d. 3-5/8”; overall h. 30” Provenance: Estate of Carol A. Straus, Houston, Texas. $1,000-$1,500

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80 Hans J. Wegner Teak, Steel and Leather “Swivel Off ice Chair” 1955, Danish, with teak back and arm rest, chrome-plated steel frame and leather seat, the casters stamped “Bassick”, unsigned. h. 29-1/4” Provenance: Estate of Carolyn G. Fay, Houston, Texas.

Exhibited: Contemporary Arts Museum, Houston, Texas in the 1950s “The Common Denominator: Modern Design 3500 B. C.-1958, A.D.” organized by Houston designer, Herbert Wells; Contemporary Arts Museum (CAM) Houston, Tesxas,”Finders/ Keepers” Exhibition, May 10-August 3, 1997, by invitation f rom the then Director, Marti Mayo, celebrating the opening of the refurbished buildings and grounds.

Literature: Marti Mayo, Bruce C. Webb et al., Finders / Keepers, exhibition catalogue (Houston, Texas: Contemporary Arts Musem, May 10 - Aug 3, 1997), pp. 174-175 $2,000-$4,000 This chair was purchased by yachtsman, Ernest Bel Fay, f rom noted interior designer, Herbert Wells, after the “Common Denominator” exhibition and became his favorite chair at his Houston, Texas office.

81 Italian Mid-Century Modern Walnut and Plate-Glass Coffee Table

80

in the manner of Ico Parisi, the circular plate glass top resting on a base with four square legs joined by parallel stretchers and pegged into the legs. h. 15”, dia. 36” $1,000-$1,500

81

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82

82 detail

82 Marcia Stuermer (American, b. 1958) “Continental Drift Table”, 1985 painted plywood and bronze tripartite table with removable bronze trays, signed and dated in several places, together with The DOMO Project exhibition catalogue. h. 15-1/2”, w. 30”, d. 28”; h. 17”, w. 32”, d. 32”; h. 18”, w. 49”, d. 32”, respectively Exhibited: The DOMO Project Spaces, Cleveland, Ohio, September 6-27, 1985. $2,500-$4,000

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83 Rare Mid-Century Modern Porcelain Vase by Marcel Prunier, Sevres ca. 1958, France, the bottle-form vase decorated with raised leaves, branches and f ruit against a mist of gilt on a cobalt ground, signed “M. Prunier 6-58”, an unglazed transferprinted “Sevres” mark and a “Manufacture National Dore et Decore a Sevres” transfer-printed round mark. h. 9”, dia. 4-3/4” $1,000-$1,500

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84 Monumental French Flambe-Glazed Vase late 20th century, the tapered vase set with lug handles, with tan glaze around the lip, peacock blue and seafoam green below. h. 48-1/2”, dia. 16-1/2” $1,000-$1,500

84

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85 85 Jan Lebenstein (Polish/French, 1930-1999) “Untitled: The Dream” oil on canvas signed lower right.

Unframed.

60” x 56” Provenance: The artist; Collection of the late Wojciech Seweryn, Chicago, Illinois; Private collection, Illinois; Doyle, New York, New York, May 25, 2011, lot 78; Private collection. $7,000-$10,000

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86 Charles Levier (French, 1920-2003) “Trois Femmes” oil on canvas signed lower left.

Framed.

40” x 30”, framed 49” x 39” $4,000-$7,000

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87

87 Peter Max (American, b. 1937) “Liberty Head II”

88

acrylic-enhanced lithograph signed lower right.

Matted, glazed and f ramed. sight 15-1/2” x 12-1/2”, framed 19-1/4” x 15-1/4” Provenance: Private collection, New Orleans, Louisiana. $1,000-$1,500

88 Frederick Elliott Hart (American, 1943-1999) “Dance of Life”, 1997 acrylic resin sculpture incised signature, dated, numbered “236/350” and marked “CRI” along back edge, f rom an edition of 410 with 350 numbered, on a specially made carved wood pedestal wired for electricity with inner light source and rotating top; together with a Certif icate of Authenticity and a copy of the book Frederick Hart, Sculptor. sculpture h. 23-1/2”, w. 8-1/2”, d. 8”, pedestal h. 43”, w. 12”, d. 12” Provenance: Angela King Gallery, New Orleans, Louisiana; Private collection, New Orleans, Louisiana. $1,000-$1,500

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88 detail

90 89 George Nelson & Associates Black Granite “Sling Sofa Table”

90 Chrome and Crystal “Ovali” Chandelier, Designed by Gaetano Sciolari (Italian, 1927-1944)

1964-67, for Herman Miller, model 6372, the granite top with a molded edge and raised on tubular chrome-plated steel legs, label lacking.

13-1/2”, w. 75”, d. 23”

ca. 1970s, in two tiers, with electric candles alternating with vertical glass rods and matte chrome ovals set with oval glass drops. h. 20”, dia. 20-1/2”

Provenance: Private collection, Houston, Texas.

Literature: This table was illustrated in the February 1967 issue of Modern Office Procedures featuring The Morris-Glenny Company, Houston, Texas, winner of The Best-In-Show citation of the 1966 NSOEA Office Design Competition.

$1,000-$1,500

$1,200-$1,800

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91 Tiffany & Co. Modernist Sterling Silver Center Bowl 1950-1956, New York, New York, the navette-shaped body with stylized acanthus loop handles, the whole raised on a conical base. h. 4-1/2”, l. 16-1/4”, w. 8”; 28.08 t. oz. $1,000-$1,500

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92 Rare Georg Jensen Sterling Silver “Blossom” Demitasse Set the pattern designed 1905-1908 by Georg Jensen (18661935), Copenhagen, each piece with the post-1945 oval pelleted Jensen mark, including: a coffeepot, h. 6”, l. 6-3/4”; a creamer, h. 2-1/4”, l. 5-1/4”; a covered sugar bowl, h. 3-1/2”, dia. 3-3/8”; and an oval tray, 14-1/4” x 8-1/2”.

42.28 total t.oz.

42.33 total t. oz. $4,000-$7,000

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93 Pair of Molded Crystal Ice Buckets 20th century, of Baccarat inspiration, decorated with “Strawberry and Fan” patterns. h. 8”, w. 9-1/2”, d. 8” $1,000-$1,500

93

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94 French Art Deco Metal, Mirror Glass, Wood and Faux White Leather Drinks Trolley mid-20th century, attributed to Jacques Adnet (French, 1901-1984), set on casters, the cart with two removable trays over a stationary area on the front, a mirrored plate behind it opening to reveal a removable ice tube, the lucite handle in the rear over a pair of double doors, opening to reveal holders for stemmed glasses on the doors and holders for bottles on the interior, retaining the original chrome key. h. 20-1/2”, w. 19-1/2”, d. 30-1/2” $2,000-$4,000

95 Postmodern Patinated Steel Girandole Mirror late 20th century, the arched top decorated with a pierced steel fan light crest above a rectangular mirror plate, mounted with a candelabrum on each side, electrif ied. h. 54”, w. 30”

94

$1,000-$1,500

96 96 Charles Pebworth (American, 1926-2019) “Zapata” polished aluminum and bronze relief on wood signed lower center, titled, inscribed “4-7536” and with a “DuBose Gallery/ Houston, Texas” label en verso.

23-3/4” x 36” Provenance: DuBose Gallery, Houston, Texas; The Collection of Samuel Ellis and Valerie Sellors Dunnam, Austin, Texas. $1,000-$1,500

95

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97 Ansel Adams (American, 1902-1984) “Fern Spring, Yosemite National Park”, 1974 gelatin silver print mounted on paper from a 1961 negative, pencil-signed lower right on mount, printed in an edition of 1,000 by New York Graphic Society, Ltd., Boston, this numbered CCCXXX (330) on label en verso mount.

Matted, glazed and framed. sheet 12-1/4” x 9”, framed 19” x 15-1/2” Provenance: The Collection of Samuel Ellis and Valerie Sellors Dunnam, Austin, Texas. $2,000-$4,000

98 Contemporary Chrome and Glass Chandelier 20th/21st century, the three-light chandelier hung with three tiers of staggered molded and cut glass prisms. h. 33”, dia. 13-1/2” $1,000-$1,500

98

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97

99

99 Contemporary Stainless Steel and Beveled Glass Table fourth quarter 20th century, attributed to Brueton Industries, Springfield Gardens, New York, the swirl-form standard mounted to an in-curved triangular platform base, the circular plate-glass top with a beveled edge. h. 30”, dia. 83” $1,500-$2,500

100 Laudarte for Versace Chrome and Acrylic Table Lamp 20th/21st century, the tapered acrylic standard with Greekfret chrome trim, and a matching shade, marked “Laudarte, Made in Italy, Gianni Versace”. h. 28”, w. 18-1/2”, d. 18-1/2” $1,000-$1,500

100

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101

101 Suite of Ten Neoclassical-Style Ebonized Chairs

102 Pair of Contemporary Wrought Iron, Brass and Glass Etageres

comprised of eight sidechairs with curved backs and scrollcut motifs, h. 40”, w. 20”, d. 19”, and a pair of swivel bar stools of like form with scrolled arms, h. 49-1/2”, w. 22”, d. 22”.

each with a brass f inial supported by a wrought scrollwork pediment over f ive glazed shelves, on scroll feet. h. 76-3/4”, w. 48”, d. 24”

$1,000-$1,500 $1,200-$1,800

102

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104

103 Lalique Molded and Frosted Crystal “Tete d’Aigle” Mascot

104 Pair of French Polychromed Circular Side Tables

with a molded signature at the base of the feathers, engraved “Lalique France” on the base, this model originally produced in 1928, and marketed post-war as both a mascot and a paperweight. h. 4-1/4”, w. 5”, d. 3”

20th century, each with an insert Fleur-de-Pecher marble top, a molded edge and pierced aprons in the form of interlocking figure eights, raised on slender, molded cabriole legs. h. 29-1/2”, dia. 28”

$1,000-$1,500

$1,500-$2,500

103 105 Pair of Contemporary Rock Crystal, Chrome and Acrylic Table Lamps 21st century, the standards composed of graduated rock crystal spherules, with chrome f ittings on stepped acrylic bases. h. 27-1/2”, dia. 5-1/2” $1,500-$2,500

105

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106 Pablo Picasso (Spanish/French, 1881-1973) “Le Vieux Roi”, 1959 lithograph on Arches paper printed red signature lower right and dated “6.1.59” in print, ed. of 1,000, printed by Mourlot, Paris to benefit Le Patriote newspaper, Nice.

Matted, glazed and f ramed. sheet 26-1/4” x 20-1/4”, f ramed 35-1/2” x 29-1/2” $1,800-$2,500

106

107 Pablo Picasso (Spanish/French, 1881-1973) “Sylvette” (A.R. 266), 1955 white earthenware, partially glazed and painted edition of 100, base stamped “Edition Picasso” and “Madoura Plein Feu”. dia. 7” $2,000-$4,000

107

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108

108 Pablo Picasso (Spanish/French, 1881-1973) “Au Homme Devoilant une Femme”, pl. 5 f rom the Vollard Suite, 1931 etching with drypoint on Montval laid paper watermarked “Vollard” pencil-signed lower right and numbered “203” lower left dated in Roman numerals in plate upper right edition of 260 matted, glazed and framed plate 14-1/2” x 11-3/4” sheet with deckled edges ~17-1/2” x 13-1/4” framed 25-1/4” x 20-5/8” Literature: Bloch, 138 Baer, 203 $3,500-$5,000

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109 Percy Hague Jowett, R.W.A. (British, 1882-1955) “Church and Tower in the Tuscan Countryside” oil on canvas signed lower right, inscription en verso suggesting setting as Castello del Trebbio.

Framed.

12-1/4” x 10-1/2”, framed 18-1/2” x 16-3/4” $1,000-$1,500

109

110 Emile Henri Bernard (French, 1868-1941) “Portrait of a Woman”, 1931 oil on board signed and dated mid-left.

Framed.

25-1/2” x 19”, framed 30-1/2” x 24-1/2” Provenance: Ader Picard & Tajan, Paris, France, November 4, 1977, lot 114; Private collection, Georgia. $1,000-$1,500

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110

111

111 Emile Henri Bernard (French, 1868-1941) “Femme Nue Allongee”, 1932 oil on canvas signed and dated lower left.

Framed.

33-3/4” x 55-1/4”, framed 45” x 61” Provenance: Private collection, Georgia. $10,000-$15,000

112 Chinoiserie-Decorated and Bronze-Mounted Bouillotte Side Table 20th century, in the Restauration taste, the marble top edged by a brass gallery, the frieze in chinoiserie decor, raised on fluted legs on brass caps. h. 26”, dia. 25-3/4” $1,000-$1,500

112

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114 Mario Villa (Nicaraguan/Louisiana, b. 1953) Day Bed in the Neoclassical Style wrought iron, with brass swags and coils at headboard and brass coils at baseboard. h. 48”, inside w. 39-3/4”, l. 80-1/4”, outside w. 40”, l. 102-1/2” $1,000-$1,500 115 Pair of Mario Villa (Nicaraguan/Louisiana, b. 1953) “Palm” Side Chairs wrought iron, now upholstered in cream linen. h. 35-1/2” $1,000-$1,500

113

113 Mario Villa (Nicaraguan/Louisiana, b. 1953) Side Chair in the Neoclassical Style iron and brass, the back with an etched glass panel of Ceres, the goddess of the harvest, holding aloft a stalk of wheat. h. 38” $1,000-$1,500

115

114

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116

116 Mario Villa (Nicaraguan/Louisiana, b. 1953) Dining Suite iron, brass and glass, comprised of four chairs with charcoal leather upholstery and a square table with a round glass top. chairs h. 37-1/2”, table h. 30-1/2”, w. 36”, d. 36”, glass top dia.

59” $1,200-$1,800

117 Pair of Mario Villa (Nicaraguan/Louisiana, b. 1953) Side Tables

117

wrought iron legs with twining brass elements and modified pinecone-motif feet, the top with gold leaf squares. each h. 31”, one w. 36”, d. 36” and the other w. 30”, d. 24” $1,000-$1,500

118 Mario Villa (Nicaraguan/Louisiana, b. 1953) Equine Console Table patinated steel and glass, the rectangular glass top supported by a base of two central horses and riders, flanked by figures with outstretched arms. base h. 29-1/2”, w. 47”, d. 15”, glass top w. 60” $1,000-$1,500

118

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119

119 Suite of Four Contemporary Tubular Brushed Metal and Glass Barstools monogrammed and dated 2001 on the seats, each with various deeply etched scenes on their seats and backs. h. 46-1/4” $1,500-$2,500

120 Joan Miro (Spanish, 1893-1983) “L’Oeuvre Graphique”, 1974 lithograph in colors ed. of 100, cover for the exhibition catalogue at the Grand Palais, Paris, printed by Arte Adrien Maeght, Paris.

Matted, glazed and framed.

29” x 22”, framed 31-1/2” x 23-3/8” $1,000-$1,500

120

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121 Brian Portman (American/Texas, Contemporary) “Blue Dreamer” collage and oil on paper verso with “Meredith Long & Company, Houston, Texas” label.

Float-mounted, glazed and framed.

38” x 50”, f ramed 41-3/4” x 54” Provenance: Meredith Long & Company, Houston, Texas; Private collection, Houston, Texas. $1,000-$1,500

121

122 Brian Portman (American/Texas, Contemporary) “Untitled (Holding Pattern)”, 1996 oil on canvas signed, dated and titled en verso, with “Meredith Long & Company, Houston, Texas” label.

Unframed.

35-1/4” x 47-1/4” Provenance: Meredith Long & Company, Houston, Texas; Private collection, Houston, Texas. $1,500-$2,500

122

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123 Red Grooms (American, b. 1937) “London Bus”, 1983 3-D screenprint in colors on paper signed at top, from an unnumbered edition, now in a plexiglass display box. print h. 12-1/4”, w. 10”, d. 4-1/4”, box h. 14-1/2”, w.

14-1/4”, d. 7-1/2” $1,000-$1,500

123

123 detail

124 Joan Mitchell (American, 1926-1992) “Tree II”, 1992 lithograph in colors on wove paper pencil-signed, numbered “48/100” and embossed stamp lower right, a “Michael Rosenthal Contemporary Art” label en verso.

Float-mounted, glazed and framed. sheet 24-1/2” x 20”, framed 27-3/4” x 23-1/4” Provenance: Michael Rosenthal Contemporary Art, Redwood City, California; Private collection, New Orleans, Louisiana. $3,000-$5,000

124

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125 125 Helen Frankenthaler (American/New York, 1928-2011) “Venice II”, 1969-72 lithograph pencil-signed, dated, titled and numbered “3/8” lower left, published by Universal Limited Art Edition, West Islip, New York and with publisher’s blind stamp lower left.

Float-mounted, glazed and framed. sheet 31” x 23-1/2”, framed 36-1/4” x 28-1/2” Provenance: Private collection, New Orleans, Louisiana. $4,000-$7,000 126 Lynda Benglis (American, b. 1941) “Racer Series” stainless steel, wire mesh, bronze, silver plating unsigned. h. 10”, w. 7-1/4”, d. 3-1/2” Provenance: Private collection, New Orleans, Louisiana. $7,000-$10,000

126

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127 Two Jeff Helmwood Blown Glass “Vortex” Vases 2000, one of teardrop shape, one of low form, each with opaque swirled pattern in shades of black, terracotta and browns, each with incised signature and dated at bottom. tall h. 13”, dia. 5-1/2” and short h. 7-1/2”, dia. 7-1/2” $1,000-$1,500

128 An Eickholt Studio Blown Glass Vase 1999, marbled body in shades of magenta, blue, gray and brown, applied coil of opaque black, incised signature and dated at bottom; together with a F. M. Ronneby Sweden Glassworks “Mother and Child” paperweight, clear to charcoal gray, incised manufacturer’s mark and numbered “13976” at bottom. h. 9-1/2”, w. 5-1/2”, d. 6” and h. 7”, dia. 3-1/2”, respectively

127

$1,000-$1,500

128

129 Christian Thirion Whimsical Blown Glass Teapot-Form Sculpture in shades of teal, coral, pinks, red and yellow, incised signature along side. h. 12”, w. 8”, d. 6” $800-$1,200

129

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130 Pair of Gianni Versace-Designed Murano Venini Glass Vases “Rave” and “Funky”, 2000, part of the “Collezione VVV”, each with teal body and applied red and pink rods, each incised “Versace Venini/1999” and marked “A56” and “157” at bottom, respectively, together with the original Versace/Venini sales pamphlet for “Funky”. h. 13-1/2”, w. 9”, d. 5-1/2” and h. 9-1/2”, w. 11”, d. 5-1/2”, respectively $1,000-$1,500

130

132 Three Orient and Flume Blown Glass Vases including: “Pulled Feather”, 1978, iridescent gold with green and burgundy, incised manufacturer’s mark, dated and marked “539” at bottom; “Tied Bag”, by David Smallhouse, iridescent copper-orange and green, incised manufacturer’s mark, signed and with inventory numbering at bottom; and “Baluster-Form”, by David Smallhouse, in shades of tan, brown and mint, incised manufacturer’s mark, signed and with inventory numbering at bottom. h. 6”, dia. 6; h. 7-1/2”, dia. 7”; h. 13”, dia. 3-3/4”, respectively $1,000-$1,500

131

131 Two North American Art Glass Vessels including: a Robert Held Studio “Pulled Feather Vase”, iridescent pinks and greens, incised signature at bottom, and a Steven Lundberg Art Glass “Pumpkin”, 1999, body of partially mottled iridescent silver and forest green, leaf and stem of iridescent antique gold, incised signature and dated at bottom. h. 9-1/2”, dia. 6-1/2” and h. 8”, dia. 6”, respectively $800-$1,200

132

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133

133 Three American Blown Glass Vessels

134 Group of Five Blown Glass Goblets

including: a Ridabock Glass Studios “Barnacle” vase, 1997, translucent lime green body with scattered opaque white, gray, red, blue and yellow, incised signature and dated at bottom; a stoppered perfume bottle, body of clear to aqua with accents of gold, white and gray, clear stopper, incised “Morgan” and marked “SKS 8142” at bottom; and a widelipped bowl, body of clear to purple, lip of opaque lime green, unmarked. h. 6-1/2”, dia. 6-1/2”; h. 10-1/4”, w. 5”, d. 2”; h. 11”, dia. 11”, respectively

including: Elizabeth Mears “Hand” glass, 1998, in shades of clear, red and f rosted white, incised signature and dated at bottom; a champagne flute and brandy snifter, clear to red and purple with applied golden f ilaments, each unsigned; and two illegibly-signed flutes, possibly Murano glass, one lime green and purple, the other purple and clear with a seahorse. h. 8-1/2” and dia. 5” to h. 16” and dia. 4-1/2” $1,000-$1,500

$1,000-$1,500

134

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135 Harrison & Gil “Playing Card” Painted Wood Mirror late 20th century, Baton Rouge, Louisiana, the circular mirror with a carved, painted and incised frame with a deck of playing cards, labeled “Harrison & Gil” on the reverse. dia. 49” $1,000-$1,500

136

136 Art Deco Bronze and Pate de Verre Glass Chandelier

135

second quarter 20th century, probably French, with a mottled red and mauve glass central bowl and shade, with three interior lights and three exterior lights, handsome Art Deco bronze f ittings and pierced chains. h. 35-1/2”, dia. 24-1/2” $1,000-$1,500

137 After Henri Matisse (French, 1869-1954) “Nature Morte Au Magnolia” color woodcut signed in pencil lower right, notated “E. A.” lower left.

Unframed. sheet 11-1/2” x 14” $1,500-$2,500

137

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138 Painted “Coral” and Shell Chandelier 20th century, of Tony Duquette inspiration, the metal frame molded to resemble coral, the sides set with shell roundels, the interior set with six light sockets. h. 20-1/2”, w. 33-1/2”, d. 22” $1,200-$1,800

138

139 Painted “Coral” and Shell Chandelier 20th century, of Tony Duquette inspiration, the metal frame molded to resemble coral, the sides set with shell roundels, the interior set with six light sockets. h. 20-1/2”, w. 33-1/2”, d. 22” $1,200-$1,800

139

140 Willem Heytman (Dutch, b. 1950) “Beach Scene” oil on wood panel signed lower right.

Framed.

17” x 25”, framed 22” x 30” $1,200-$1,800

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140

141

141 Suite of Six Faux Bamboo Armchairs

142 Suite of Eight Faux Bamboo Side Chairs

each of generous proportions, the upholstered back cushion framed by bamboo elements joined to open arms, the upholstered seat raised on X-form legs joined by a stretcher. h. 41”

each of generous proportions, with an upholstered cushion in the back and seat, the back cushion over a spindle gallery, the legs joined by like stretchers. h. 40-3/4”

$1,000-$1,500

$1,000-$1,500

142

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143 Pair of Contemporary Gilt-Metal and Petrified Wood Side Tables the bases of circular form with arched motifs, the tops of petrified cross-section tree slabs. h. 19”, w. 25-1/2”, d. 17-1/2” and h. 19”, w. 17-1/2”, d. 15” $1,000-$1,500 144 Unusual Murano Glass and Brass Spiral Chandelier 1980s, the glass drops clear with frosted centers and brass caps, all suspended from a spiral brass frame, electrified. h. 42”, dia. 17-1/2” $1,000-$1,500

144

145 Chinese Crackle-Glazed Arrow Vase probably Yuan or Ming Dynasty, 13th/17th century, the vase with an octagonal, pear-form body, tubular handles and a thick glaze. h. 5-3/4”, w. 3-1/4”, d. 2-1/2” $1,000-$1,500

145

143

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147 146 Chinese Celadon Vase probably 18th/19th century, with a molded lip, the base with two rectangular openings. h. 7-3/4”, dia. 3-3/4” $1,000-$1,500

146

147 Asian Announcements of Official Status in Three Languages China, 1876-1907, written in Tibetan, Mongol and Chinese on silk burlap and mounted on a pressed wood panel for hanging.

12-3/4” x 94” Provenance: Estate of Carolyn G. Fay, Houston, Texas.

Exhibited in the Houston, Texas office of Ernest Bel Fay for many years. $1,000-$1,500

148 After Qi Baishi (Chinese, 1864-1957) “Insects and Flowers” ink and color on paper inscription and two seal marks. overall l. 88”, w. 32-1/2” $2,500-$4,000

148

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149 Tall Pair of Asian Carved and Polychromed Hardwood Figures early 20th century, each in a standing posture, dressed in a red robe and standing on a carved lotus leaf base. h. 74-1/2” to 75-1/2”, w. 20”, d. 15” $1,200-$1,800 150 Rock Crystal Figure on Stand 20th century, depicting a Chinese immortal and smaller figure at his left shoulder. figure h. 5-1/4”, w. 4”,m d. 1-3/4”, overall h. 6-3/4” $800-$1,200

149

150

151 Zebra Rug w. 69”, l. 103” $1,000-$1,500

151

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152 Contemporary Patinated Bronze and Glass “Lucky Elephant” Table the round glass top supported on a base with three outward facing elephants with upraised tusks. base h. 18-1/2”, dia. 32-1/2”, glass dia. 42” $1,000-$1,500 153 Pair of Hollywood Regency Polychromed Tole and Wrought Iron Armchairs 20th century, each concave tole top rail stenciled with a maiden in a mountain scene, over an X-form splat, the open arms wrapping back to join the stiles with flare legs, a mottled green and gilt surface throughout. h. 35-1/4” $1,000-$1,500

152

154 Pair of Metal Tree Tubs in the Neoclassical Taste the rectangular sides with X-form stretchers and central medallions, the tops with ball f inials at the corners, with galvanized metal inserts. h. 25-3/4”, w. 24”, d. 24” $1,200-$1,800

153

154

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155

155 Pair of Zinc Garden Planters each with a square top with an edged rim, over a tapering body, two opposing sides with an attached rim and strapwork. h. 23”, w. 22-7/8”, d. 22-7/8” $1,000-$1,500

156 Cast Bronze Crane in the Japonesque Taste 20th century, modeled as a standing f igure with its head raised and mouth open. h. 69-3/4”, w. 23”, d. 21” $1,000-$1,500

156

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157

157 Richard Stout (American/Texas, 1934-2020)

158 Roy Fridge (American/Texas, 1927-2007)

“Pair of Still Lifes in Purple Vases”, 1992

“The Funerary Boat”

oils on canvas each signed and dated lower right and en verso.

Unframed. each 22” x 14”

carved wood and found objects sculpture on a thin metal presentation stand. h. 13-1/4”, w. 30”, d. 4” Provenance: Estate of Carol A. Straus, Houston, Texas.

Provenance: Estate of Carol A. Straus, Houston, Texas.

$1,000-$1,500

$1,500-$2,500

158

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159 American School (20th Century) “Louche and Cassatelle”, 1983 oil on linen signed indistinctly lower left “Lisa Shirley”, titled and dated en verso and inscribed in painting.

Unframed.

78” x 54” Provenance: Estate of Carol A. Straus, Houston, Texas. $1,000-$1,500

160 John Tolmay (South Af rican/Montana, b. 1943) “Rhinoceros”, 2007 patinated bronze cast signature, dated and copyright-marked on self-base, on a marble base set atop a wooden plinth, created for the Safari Club International Hall of Fame Award, this issued to Al Cito in 2007 as per plaque at f ront. sculpture h. 10-1/2”, w. 20”, d. 7-1/2”, overall h. 10-1/2”, w. 20”, d.

7-1/2” $2,000-$4,000

159

160

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161 161 Derek Boshier (British/American, b. 1937) “Mexican Courtyard”, 1985 oil on canvas signed, titled and dated en verso.

Unframed.

88” x 138” Provenance: Texas Gallery, Houston, Texas; Estate of Carol A. Straus, Houston, Texas.

Literature: Derek Boshier, The Texas Years, Houston, Contemporary Arts Museum, 1995, p. 16 $75,000-$125,000 Derek Boshier, a British-born artist and one of the proponents of late 1950s Pop Art, is an enigma, who has stymied art critics and historians alike for more than half a century. His work is versatile, boundless, and ever-more transformative, encompassing various media, genre and locales. Boshier studied at the Royal College of Art with David Hockney, Allen Jones and Peter Philips. His early works explored the terrain of popular mass culture, drawing upon mundane symbols and icons of everyday life that he explored not only in terms of Western kitsch, but also in terms of Indian culture and customs that he studied through a scholarship he received in 1962 sponsored by the Indian government and British Council. By the late 1960s and early 1970s, Boshier’s work became progressively more abstract as he gave up painting and experimented with Op (optical)

art in photography, film and 3D forms, creating ambulatory photographs and acrylic sculptures that explored illusion while simultaneously pairing movement and form down.

Figurative works re-emerged in the 1970s as Boshier’s work grew political and included anti-war and social commentaries in reductive posters, banners, and installation.

By 1980, Boshier metamorphosed yet again. Fascinated by American culture and early visits to New York and California in the 1960s, Boshier applied for a teaching position as a visiting printmaker at the University of Houston, in the heart of Western Cowboy country, or so he thought. Despite missing the application deadline by two months, the Art Department was so fascinated by Boshier, he was invited as a Visiting Professor/Artist in Residence with his own studio.

As the catalogue for the 1995 exhibit the Texas Years states, it is not surprising that Boshier came, given his transient and restless nature, it is, however, surprising that he stayed for thirteen years.

With Texas came an astounding return to painting after a thirteen year hiatus. Canvases, big like the state, were full of color, movement and life - f rom naked cowboys framed by broad expansive Texan skies and roadways to verdant gardens laden with moss and exotic fauna, Boshier’s bright saturated colors are narrative, celebrative and whimsical.

The hot climate, proximity to Mexico and Louisiana, exposed him to tropical terrains, French Creole and Mexican rituals moored in voodoo and old Catholic traditions like the Day of the Dead, and Mardi Gras. Myth, icon and symbols - tenets of Boshier’s early Pop Art work, bloomed during the Texas years in masterpieces like this: the “Mexican Courtyard”

75

162 162 Hunt Slonem (American, b. 1951) “Blue Chandelier”, 1994 oil on canvas signed, titled and dated en verso.

Framed.

44” x 52”, framed 48” x 57” $10,000-$15,000

163 Hunt Slonem (American, b. 1951) “St. Martin de Porres”, 1984 oil on canvas signed, titled and dated en verso canvas, verso affixed with “Hunt Slonem, 87 East Houston, New York City” card.

Framed.

9” x 8”, framed 9-3/4” x 8-3/4” $1,000-$1,500

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163

164 Romeo Tabuena (Filipino/Mexican, 1921-2015) “Paisaje Campestre”, 1980 acrylic on canvas signed and dated lower right.

Framed.

Together with a letter of authentication from Tere Haas, Galeria, S.A., Mexico City, Mexico.

24” x 28”, framed 33” x 36-3/4” Provenance: Tere Haas, Galeria, S.A., Mexico City, Mexico; Private collection, Louisiana. $3,000-$5,000

165 Charles Simonds (American, b. 1945)

164

“Untitled”, 1982 clay and wood presented on an integral base with a plexiglass protective cover. overall h. 51-1/2”, w. 27”, d. 27” Provenance: Castelli Feigen Corcoran, New York, New York, 1983; Estate of Carol A. Straus, Houston, Texas.

Exhibited: Finders/Keepers, May 10-Aug. 3, 1997, Contemporary Arts Museum (CAM), Houston Literature: Charles Simonds, Museum of Contemporary Art, 1981; Charles Simonds: House Plants and Rocks, Leo Castelli Gallery, 1984; Penelope Hunter-Stiebel, “The Tiny House Movement”, El Palacio: Magazine of the Museum of New Mexico, Fall 2016, pp. 93-95 $10,000-$15,000 For decades, Simonds has been creating carefully constructed miniature clay environments which reference fantasy, archaeology and ritual - while hinting at known civilizations. Inspired by his own profound imagination and the russet-hued landscape of the New Mexico of his childhood visits, these “dwellings” were placed within the broken bricks and mortar of the buildings of urban New York City. Initially transient by the very nature of their placement and material, these structures were painstakingly composed of individual unfired clay bricks carefully placed. Seemingly uninhabited (the artist referred to them as being built by and for the “Little People”), they soon began to appear in various, usually bleak, urban areas across the globe, including Paris and Berlin. In the 1980s, the artist began a series of more permanent, movable structures, of which the work offered here is an example.

165

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166 Billy Al Bengston (American, b. 1934) “Kahuna Watercolor”, 1982 watercolor collage verso with “Billy Al Bengston Artist Studio, Venice, CA” and “Texas Gallery, Houston, Texas” labels.

Float-mounted, glazed and framed.

30” x 23”, framed 37” x 29” Provenance: Texas Gallery, Houston, Texas; Estate of Carol A. Straus, Houston, Texas. $2,000-$4,000

166

167 James Kennedy (Irish/American, b. 1962) “Icon”, 2014 acrylic and polymer on wood panel monogramed, titled and dated en verso.

Unframed.

35” x 24” $1,500-$2,500

167

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168

168 James Kennedy (Irish/American, b. 1962) “Hyperplane”, 2015 acrylic and polymer on incised masonite signed and dated en verso, a “Callan Contemporary, New Orleans, LA” label en verso.

Framed.

30” x 60”, framed 32” x 64” $2,000-$4,000

169 Brian Portman (American/Texas, b. 1960) “Untitled”, ca. 1987-1990 collage and mixed media on paper Glazed in a float-mount frame.

61” x 50”, framed 70-1/2” x 59” Provenance: Estate of Carol A. Straus, Houston, Texas. $1,000-$1,500

169

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170 Mireille Honein (Lebanese, Contemporary) “Untitled” patinated bronze cast signature along back, numbered “38/40” and with foundry mark along front, and inscribed “Edition Exclusive/ Gilbert & Rosy/CHAGOUR” along side. h. 11-1/2”, w. 9”, d. 6-1/2” $1,000-$1,500

171 Francisco Zuniga (Mexican, 1912-1998) “Joven Descansando”, 1966 patinated bronze cast signature, dated and numbered “VI/VI” along proper left edge, on a rectangular base. sculpture h. 9”, w. 14”, d. 6”, base h. 1/2”, w. 16”, d. 9”

170

Provenance: Carmen Llewellyn Gallery, New Orleans, Louisiana; Private collection. $5,000-$8,000

172 Maria Montoya Martinez (American/San Ildefonso Pueblo, 1887-1980) Santana Roybal Martinez (American/San Ildefonso Pueblo, 1909-2002) ca. 1943-1954, blackware olla decorated with feather and Kiva step design, signed on the underside “Maria + Santana” for potter and painter, respectively. h. 5”, dia. 5-3/4” $1,000-$1,500

172

171

80

173 Robert Gordy (American/Louisiana, 1933-1986) “Arcady”, 1972 acrylic on canvas initialed and dated lower left.

In a thin gallery frame.

57-1/4” x 44”, framed 58-1/2” x 45” Provenance: Private collection, New Orleans, Louisiana. $4,000-$7,000

174 William Tolliver (American/Mississippi, 1951-2000) “The Harvest Trinity”, 1988 pastels on paper the first signed and dated lower right, the others monogrammed lower right, presented together in a shaped mat.

Matted, and accompanied by a frame without glass. overall with mat 32” x 40” $4,000-$7,000

173

174

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176 William “Bill” Hemmerling (American/Louisiana, 1943-2009) “Napoleon House”, 2003 mixed media on wood board signed lower center, titled upper and lower center, signed and dated en verso.

28” x 17” $2,000-$4,000

175

175 William “Bill” Hemmerling (American/Louisiana, 1943-2009) “Sweet Olive” mixed media on wood crate slats signed and titled lower center.

47” x 17” $4,000-$7,000

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176

177 177 James Michalopoulos (American/Louisiana, b. 1951) “Choir De Nature” oil on canvas signed lower left, signed and dated “2008” en verso.

Framed.

40” x 30”, framed 42” x 32” $4,000-$7,000

178 Robert Rucker (American/Louisiana, 1932-2001) “Nocturnal Scene with Fishing Boats” oil on canvas signed lower left.

Framed.

24” x 30”, framed 29” x 35” $1,000-$1,500

178

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179 179 George Rodrigue (American/Louisiana, 1944-2013) “Girl Sitting”, 1977 oil on canvas signed mid-left.

Framed.

28” x 24”, framed 33” x 29” Provenance: Purchased from the artist in 1977 by present consignor’s aunt; Private collection, Houston, Texas. $10,000-$15,000

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181 William “Bill” Hemmerling (American/Louisiana, 1943-2009) “Mood Indigo, Birdland”, 2002 mixed media on wood door signed lower left, titled upper and lower center, dated and titled en verso.

70” x 24” $4,000-$7,000

180

180 William “Bill” Hemmerling (American/Louisiana, 1943-2009) “Sweet Olive” mixed media on wood crate slats signed lower left, titled lower center.

48” x 16-3/4” $4,000-$7,000

181

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182 Modern Flatweave Carpet bears logo for French Accents, New York City.

9’ 1” x 12’ 2” $1,800-$2,500

183 Turkish Angora Oushak Carpet 9’ x 11’ 9” $1,000-$1,500

182

184

184 Turkish Angora Oushak Carpet 9’ 1” x 11’ 8” $1,200-$1,800

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183

185 Turkish Oushak Carpet 7’ 10” x 10’ $1,000-$1,500

186 Turkish Angora Oushak Carpet 12’ 2” x 15’ 1” $2,000-$4,000

187 Semi-Antique Oushak Carpet 5’ 3” x 7’ 2” $1,200-$1,800

186

185

187

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188 Nain Carpet 8’ 5” x 12’ $4,000-$7,000 189 Agra Serapi Runner 2’ 6” x 19’ 8” $1,000-$1,500 190 Semi-Antique Kashan Carpet 10’ 1” x 13’ 5” $1,500-$2,500

188

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189

190

191 Heriz Carpet 8’ x 10’ $1,000-$1,500

192 Tribal Cloudband Kazak Carpet 6’ 9” x 9’ 5” $1,000-$1,500

191

192

193 Nain Carpet 6’ 7” x 9’ 8” $2,500-$4,000

193

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194 Neoclassical-Style Gilt-Bronze and Marble-Top Center Table 20th century, the rectilinear marble top over a frieze depicting Bacchus heads flanked by grapes, leaves and vines on an ebonized ground, raised on fluted tapering circular legs with cast Corinthian capitals. h. 28-3/4”, w. 38”, d. 20” $2,500-$4,000

194

195 French School (First Half 19th Century) Pair of Italianate Landscapes oils on canvas each unsigned.

Framed alike.

9-1/2” x 13-5/8”, f ramed 13” x 17-1/8” $1,500-$2,500

196 Set of Four Carved Wood and Metal Sconces 20th century, of Italian provincial inspiration, the baroquestyle sconces carved with standards, with traces of gilt, and set with three scrolled candle arms terminating in turned wooden candle sockets, accented with turned and gilded wooden tassels. h. 26-1/2”, w. 28”, d. 16-1/2” $1,000-$1,500

195

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197

197 Suite of Four Neoclassical-Style Painted and Parcel-Gilt Side Chairs of Italian inspiration, each with a lyre-form backsplat and circular upholstered seat, raised on shaped legs with paw feet, adorned with carved griffin heads throughout. h. 33-1/2”, w. 17”, d. 16” $1,000-$2,000

198 Painted Wood, Metal and Parcel-Gilt Chandelier in the Italian Provincial Taste

198

21st century, the turned parcel-gilt standard set with scrolled candle branches in two tiers, each set with turned candle sockets, the corona decorated with a spray of giltwood tassels. h. 35”, dia. 56” $1,000-$1,500

199 Pair of Italian Neoclassical Giltwood Mirrors first quarter 19th century, now mounted as lamps, the mirrors with cove-molded frames and carved wreath-form crests, set with antique mirror plates, mounted on acrylic bases and with shades. h. 29”, w. 15”, d. 9” $1,000-$1,500

199

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200 Contemporary Giltwood and Marble-Top Side Table of Louis XVI inspiration, the D-form marble top above a conforming dentillated frame with pendant swag garlands, raised on spiral-ribbed tapering circular legs ending in toupie feet. h. 34”, w. 38”, d. 16-3/4” $1,500-$2,500

200

201 201 Italian Marble Bust of a Lady Wearing a Hooded Cloak second half 19th century, the smiling figure possibly personifying winter, signed “Duccini” on the back and mounted on a cove-molded socle. h. 18”, w. 12-1/2”, d. 9” $1,000-$1,500

202 Pair of Neoclassical-Style Painted Metal Floor Lamps mid-20th century, the tapered standards set with latticework panels terminating in molded lotus leaves, raised on triangular bases with paw feet. h. 60-1/2”, w. 17”, d. 17” $1,500-$2,500

202

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203

203 Pair of Parcel-Giltwood and Painted Metal Chandeliers in the Italian provincial taste, the six-light chandeliers with turned wood standards set with scrolled candle arms decorated with molded leaves, terminating in turned wooden candle cups, the upper portions with coronas decorated with giltwood tassels. h. 36-1/2”, dia. 41” $1,000-$1,500

204 Neoclassical-Style Pine and Glass-Top Center Table the circular glass top with a molded edge and raised on a triple-dolphin support to a molded tripartite base. h. 31”, dia. 48” $1,000-$2,000

204

205 Carved and Painted Framed Armorial Panel 20th century, the central armorial device f ramed with bold scrollwork against a field of palmettes and intertwined laurel leaves and berries. h. 36-3/4”, w. 56-1/2” $1,000-$1,500

205

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207 206

206 Polychromed and Parcel-Gilt Stool of nautical inspiration, the carved seat simulating fabric, raised on a crossover base of gilt rope-bound “masts”. h. 25”, w. 32” $1,000-$1,500 207 Marble and Steel Garden Table comprised of an antique inverted Corinthian-carved marble capital, now supporting a circular steel and marble table top. h. 24”, top dia. 20-7/8”, base w. 19”, d. 19” $1,500-$2,500 208 Anna Mary Richards Brewster (American, 1870-1952) “Ionic Column by the Sea” oil on canvas unsigned, stretcher stamped “Estate of Anna Richards Brewster”, titled on “Mark Borghi Fine Art, New York” label on frame backing.

13” x 9”, framed 19” x 15” Provenance: Estate of Anna Mary Richards Brewster; Mark Borghi Fine Art, New York, New York; Private collection, Austin, Texas. $1,000-$1,500

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208

209 Continental Swan-Carved Marble Birdbath 20th century, the base of the pedestal carved with swans, below a field of carved meandering vines and flowerheads, the top of the pedestal decorated with bas-relief swans on cartouches, supporting a kylix-form bowl. h. 46-1/4”, dia. 19” $1,000-$1,500

210

209

210 Neoclassical-Style Glass, Metal and Wood Chandelier the eight-light chandelier with a silver-trimmed white wood standard set with metal arms, the standard hung with swags of drops terminating in glass flower-form medallions, the design echoed in the corona, the lower section decorated with silver anthemia and hung with drops. h. 47”, dia. 30-3/4” $1,000-$1,500 211 Italian Alabaster Floor Lamp in the Neoclassical Taste ca. 1900, the flared base carved with lion’s heads, the standard carved with ivy and acanthus leaves, the shade with bas-relief laurel leaves and berries and bellflowers drops. h. 71-1/2”, dia. 18” $2,000-$4,000

211

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214 Italian Polychromed Serpentine-Form Credenza the top with a molded overhanging edge, the front f itted with two conforming doors, raised on a molded base and supported by scrolled feet. h. 40", w. 67", d. 24" $1,500-$2,500

212

213

212 Italian Alabaster Floor Lamp in the Neoclassical Taste ca. 1900, raised on paw feet, the standard carved with reeding, spiral fluting and anthemia, the vasiform shade carved with neoclassical scenes and Greek fret trim, the upper edge with egg-and-dart molding, set with three light sockets. h. 69-1/2”, dia. 11-1/2” $1,500-$2,500

213 Continental Neoclassical Onyx and Gilt-Metal Occasional Table the rectangular top with a molded edge, above a conforming frieze with applied scrolling foliate patterns, raised on tapering circular onyx legs joined by a scrolling urn-centered stretcher and ending in toupie feet. h. 31”, w. 25-1/2”, d. 16” $2,000-$4,000

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214

215

216 215 Large Giltwood Mirror in the Neoclassical Taste 20th century, with an acanthus-carved cove-molded surround, the beveled mirror plate bordered by an edge decorated with leaves and berries. h. 50-1/2”, w. 63” $1,000-$1,500 216 Italian Marble Grand Tour Souvenir fourth quarter 19th century, composed of giallo antico marble, depicting the remains of the Temple of Castor and Pollux, the Corinthian columns on a rusticated wall with a portion of dentillated cornice, mounted on a black marble base. h. 13-3/4”, w. 6-3/4”, d. 3” $1,500-$2,500 217 Unusual Neoclassical-Style Bronze and Granite-Top Gueridon early 20th century, the circular granite top over a conforming frieze with conjoined swirl waves, raised on tall legs with lion heads and ending in cast paw feet. h. 43”, dia. 23-1/2” $1,200-$1,800

217

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218 Pair of French Beaux-Arts Polished Bronze Hall Lanterns first quarter 20th century, each five-light cylindrical lantern framed with ribbon-bound reeded supports, the standard supported with scrollwork, with leaf-molded scrolled candle arms terminating in beaded candle cups and drip pans. h. 40”, dia. 15-3/4” $2,000-$4,000

218

219 Pair of Baroque-Inspired Fruitwood Fauteuils 20th century, each of generous scale, the open arms on scroll supports, adorned with foliate carving, with like carving on the apron, the legs joined by a serpentine stretcher, upholstered in beige suede trimmed with tacks. h. 46” $1,000-$1,500

219

220 Continental Mahogany Library Table early 20th century, the rectangular top above a paneled and dentillated frieze, raised on shieldand patera-carved end supports joined by a shaped stretcher and ending in paw feet. h. 32”, w. 68”, d. 35-1/2” $1,000-$1,500

220

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221

221 Frans de Momper (Flemish, 1603-1660) “Coastal Scene with Swimmers and Fishermen” oil on wood panel backed by cradled board signed lower left, remnants of an old handwritten label and “Galerie Dominion” label affixed to cradle board.

Framed.

30-1/4” x 44-1/8”, framed 39-1/8” x 54” Provenance: Christie’s, New York, New York, May 18, 1995, lot 24; Galerie Dominion, Montreal, Canada. $10,000-$15,000

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222 Circle of Jacob Toorenvliet (Dutch, 1635/40-1719) “Portrait of an Old Man Holding a Tankard” and “Portrait of an Old Woman with a Basket of Eggs” pair of oils on wood panel Presented in matching frames. each 6-3/4” x 5-3/8”, framed 11” x 9-3/4” $1,000-$1,500 223 School of Gaspar van den Hoecke (Flemish, ca. 1585-1648) “Antiochus and Stratonice” oil on canvas unsigned, titled inscribed on stretcher.

Ebony and parcel-gilt frame.

17-3/4” x 21”, framed 26” x 29-1/4”

222

$2,000-$4,000 This painting depicts the tale of “Antiochus and Stratonice” from Plutarch’s Lives (43:38), when the doctor Erasistratus uncovers the cause of Antiochusí illness. After it is discovered that he is dying of his love for his stepmother Queen Stratonice, his father King Seleucus gives Stratonice’s hand in marriage to Antiochus.

224 Iberian-Style Mahogany Refectory Table the fixed plank boards with scroll ends, over a carved apron, joined to robust turned legs with scroll brackets, the legs joined by stretchers centered by a floral rosettecarved center block. h. 31-1/2”, w. 47-1/4”, l. 119-1/2” $1,200-$1,800

223

224

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225

225 Italian Baroque Carved Walnut Lift-Seat Bench

226 Continental Baroque Carved Walnut Panel

18th century, the back with a carved crest featuring a central oval medallion and wreath-carved border, above a paneled backboard, the base with a hinged seat and raised on boldly carved legs. h. 57-1/2”, w. 81”, d. 17”

17th century, the fluted and stop-reeded panel decorated with a carved armorial roundel, h. 14-3/4”, w. 56-3/4”; together with a carved and painted armorial, 20th century, h. 24-1/2”, w. 13”. $1,000-$1,500

$1,800-$2,500

226

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227

228

227 Pair of Italian Baroque Walnut Demilune Tables

227 detail

17th/18th century, the top with an under-molded edge, supported by scroll-cut legs joined by a stretcher and a pair of scroll-cut braces. h. 31”, w. 47”, d. 22-1/2” Provenance: Descended in the family of Garland Bonner Howard, Houston, Texas. $1,400-$1,800

228 Pair of Enameled Metal Hall Lanterns 21st century, the cylindrical four-light lanterns set with engraved glass panels, with ring-pierced trim and rococo crests, set with scrolled upper and lower supports. h. 41”, dia. 17” Provenance: The Anne Rice/Nicolas Cage Garden District Mansion, New Orleans, Louisiana. $1,000-$1,500

227 detail

102

229 Pair of Monumental Painted Metal Torcheres in the French Style 21st century, the pierced, reeded and leaf-molded standards raised on scrolled feet, decorated with applied leaves, set with scrolled candle arms decorated with rosettes and terminating in scalloped drip pans. h. 89”, dia. 27-1/2” $2,500-$4,000 230 Continental Bronze-Mounted Iron Settee early 20th century, in the Roman taste, the upholstered seat and back cushions on a frame with pierced finials atop the stiles, segmented arm rests ending in bronze-plated caps and curved legs joined by a stretcher. h. 43-3/4”, w. 48-1/2”, d. 17-1/4” $2,000-$4,000

229

231

231 American Iron and Bronze Chair early 20th century, of neoclassical inspiration, the bronze castings attributed to P.E. Guerin, New York, the verso of the lion and urn casting stamped “1071”, the splat with a roundel depicting a chimera, cast for viewing from the front and back, the curule-form base joined by an H-form stretcher and ending in bronze paw feet. h. 39” $1,000-$1,500

230

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232 Armorial Wall Ornament in the Baronial Taste mid-20th century, the carved and painted armorial plaque pierced with a pair of chased metal crossed swords with pierced handles. h. 29-1/2”, w. 31” $1,000-$1,500

233 Carved and Painted Santos Figure of St. Gabriel 18th century, Latin American, the figure modeled gathering his robes as he gazes heavenward. h. 31-1/4”, w. 9”, d. 7-1/4” $1,000-$1,500

234 Carved and Painted Santos Figure of St. Anthony of Padua 19th century, Latin American, St. Anthony modeled cradling the Christ Child. h. 25-1/2”, w. 13”, d. 7-1/2”

232

$1,200-$1,800

233

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234

235 Spanish Carved Pine Clothes Press 18th century and later, comprised of antique elements, the front with a pair of heavily carved framed and paneled doors with pineapple motifs, opening to an interior retro-fitted with 2 banks of 5 drawers, the doors mounted with catter pin hinges, raised on bun feet. h. 47-1/2”, w. 53-1/2”, d. 21-1/2” Provenance: Descended in the family of Garland Bonner Howard, Houston, Texas. $1,400-$1,800

236 Spanish Carved Pine Cabinet 19th century, in the Spanish Colonial taste, with a pair of framed and paneled doors, each with eight carved symbolic plaques, the sides with elaborate deep relief-carved foliate panels. h. 76”, w. 54”, d. 21” Provenance: Descended in the family of Garland Bonner Howard, Houston, Texas.

235

$1,400-$1,800

237

237 Spanish Colonial Walnut and Wrought Iron Guard Room Table 17th century, the single-board top attached to a trestle-form base with dovetail splines, the scroll-cut legs and stretchers joined to the top with wrought iron braces. h. 31-1/2”, w. 51-3/4”, d. 30-1/2” Provenance: Descended in the family of Garland Bonner Howard, Houston, Texas. $1,400-$1,800

236

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238 Continental School (Mid-19th Century) “Mary with Jesus, John the Baptist and Joseph” oil on canvas unsigned.

Framed.

15-3/4” x 13-3/4”, framed 24” x 21-3/4” $1,000-$1,500

238

239

239 Pair of Carved, Pierced and Gilded Architectural Fragments 19th century and later, now mounted as lamps, carved with scrollwork and grapes, trimmed with ribbon-bound laurel leaves, on acrylic bases. h. 21-1/4”, w. 8”, d. 6” $1,000-$1,500 240 Venetian Carved Walnut and Ebonized Blackamoor Armchair ca. 1900, in the manner of Andrea Brustolon, with a tall, rectangular padded back, the arms with recumbent putti and the front arm supports with blackamoor figures, raised on dolphin-form legs and urn-centered crossed stretchers, now upholstered with natural linen. h. 48”, w. 34”, d. 30” Provenance: Descended in the family of Garland Bonner Howard, Houston, Texas. $1,500-$2,500

106

240

241 Pair of Italian Patinated Metal Lanterns in the “Gothic” Taste 21st century, the pentagonal-form lanterns with Gothic crests, the corners with applied leaves, supported on upper scrolled frames. h. 36”, dia. 19” $1,000-$1,500

241

242 Italian Neoclassical Polychromed Commode late 18th century and later, the rectangular top with a molded edge, banded and centered by a classical medallion within musical and scrolling patterns, above a conforming case f itted with three long drawers, all decorated with scrolling patterns, raised on bun feet. h. 37”, w. 54”, d. 25” Provenance: Private collection, New Orleans, Louisiana. $1,800-$2,500

242

243 Pair of Large Italian Majolica Vases in the Deruta Style fourth quarter 19th century, the obverses decorated with Poseidon and Amphitrite and the reverses with Naiads and musicians, mounted with double serpent handles terminating in molded masques, with unglazed marks in the form of bowknots. h. 29-1/2”, w. 10-1/2”, d. 7-1/2” $1,000-$1,500

243

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244 Attributed to Taddeo Zuccaro (Italian 1529-1566) “The Nurture of Bacchus” pen and ink on laid paper, laid down on paperboard attribution inscribed in ink in border, further inscribed en verso with provenance and inventory number pertaining to the collection of “Sir Anthony Westcomb”, frame backing with “Christie’s” label.

Matted, glazed and framed. drawing 8-7/8” x 11-1/4”, mat 11-1/4” x 14-7/8”, framed 16-1/2” x 19-1/2” $5,000-$8,000

244

245 Belgian-Style Tapestry of a Royal Hunt with hunters and hounds in the foreground entering the forest and a chateau in the background, and an all-over ripe f ruit and leaf border. h. 76”, w. 85” $1,000-$1,500

245

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246

246 Middle Eastern Hardwood, Brass and Metal Valuables Chest in the 17th-century manner, the facade decorated with pierced brass strapwork and molded peacocks, the bottom with three drawers with blind locks, the sides and top set with brass studs, the sides also fitted with carrying handles. h. 10-3/4”, w. 19-3/4”, d. 13-3/4” $1,200-$1,800

247 247 Continental Carved Oak Mirror in the Baroque Taste fourth quarter 19th century, with leaf-carved crossetted corners and an outer egg-and-dart surround, set with a broken-arch pediment crest with a central fluted f inial, set with a beveled mirror plate. h. 63-1/2”, w. 44” $1,000-$1,500

248 Carved Walnut Sculpture of the Madonna and Child 17th century, possibly Germanic, the seated Mary with carved rays around her head, holding the Christ Child, wearing a crown. h. 22”, w. 15”, d. 3-1/2” Provenance: Mr. and Mrs. T. W. Eason, Oklahoma City, Oklahoma; thence by descent to Ambassador and Mrs. John G. Weinmann, New Orleans, Louisiana; thence by descent to consignor. $1,000-$1,500

248

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249 Italian Walnut Center Table ca. 1900, the octagonal slab top raised on a pedestal with banded inlay panels with bobbin turnings joined at the corners, on a carved plinth base. h. 20-1/4”, w. 37-3/4”, d. 39” $1,500-$2,500

250 Italian Walnut Credenza 20th century, the molded top over a case fitted with a pair of framed and paneled center doors, flanked by serpentine doors to each side, raised on a molded plinth base. h. 37”, w. 75”, d. 16”

249

$1,200-$1,800

251 Italian Giltwood Overmantel Mirror in the Baroque Taste ca. 1900, with a pierced scrolled crest decorated with a central winged angel’s head and carved swags of fruit, the sides carved with pierced scrolls supporting standing angels and seated swans, the mirror plate lined with egg-and-dart molding. h. 43-1/2”, w. 53-1/4” $1,000-$1,500

251

250

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254 252

252 Pair of Italian Baroque Parcel-Gilt Columns fourth quarter 18th century, the painted rope-twist columns decorated with gilt grapevines, f ruit and leaves, set with composite Corinthian giltwood capitals. h. 78-1/2”, dia. 9” $5,000-$8,000

253 Pair of Italian Baroque Parcel-Gilt Columns fourth quarter 18th century, the painted rope-twist columns decorated with gilt grapevines, f ruit and leaves, set with composite Corinthian giltwood capitals. h. 78-1/2”, dia. 9” $5,000-$8,000

254 Italian Venetian Blown Glass Chandelier 20th century, the five-light chandelier with a blown glass quilted standard, set with alternating gilt spangled leaves and flowers, the spiral-reeded candle arms set with quilted cups alternating with down-turned leaves, set with a matching blown glass f inial. h. 28”, dia. 23” $1,000-$1,500

253

111

255 Pair of Italian Venetian Blown Glass Sconces composed of blown quilted glass decorated with gilt spangling, the brass backplates supporting tapered glass standards, set with pairs of candle arms terminating in tulip-form shades, with central blown finials and blown flowers and leaves. h. 16", w. 28", d. 10" $1,000-$1,500 256 Pair of Painted Composition Blackamoor Torcheres third quarter 20th century, the polychromed male and female figures on marbleized baroque-style bases, balancing urns of fruit on their heads, set with polychromed rococo-style electrified candle branches. h. 83-1/2”, w. 23”, d. 16-1/2”

255

$1,000-$1,500

257 257 Italian Giltwood Mirror in the Rococo Taste fourth quarter 19th century, molded with bold scroll and rocaille work, accented with flowerheads. h. 55-1/2”, w. 34” $1,200-$1,800

256

112

258 Pair of Italian Giltwood Mirrors in the Rococo Taste second half 19th century, the surround with bold carved foliage, the crest with overhanging leaves, each mirror set with a pair of scrolled candle branches terminating in leaf-molded candle cups and matching drip pans. h. 35-1/4”, w. 27” $2,000-$4,000

259 Pair of Venetian Polychromed Armchairs early 20th century, the frames with an oval panel centered in the crest rail with a floral-painted reserve, with serpentine seat frames and raised on cabriole legs, floral decoration throughout. h. 38”, w. 26”, d. 20”

258

$1,000-$1,500

260 Antonio Maria de Reyna Manescau (Spanish 1859-1937) “Venice” oil on canvas signed and localized/titled lower right, partial “Roma” import/shipper stamp en verso.

Framed.

14-1/8” x 29-1/4”, framed 19-1/4” x 34-1/4” $9,000-$12,000

259

260

113

261 Italian Rococo-Style Polychromed Bureau 19th century, the bombe top fitted with a slant front opening to a variety of drawers and cubbyholes, over three small drawers, raised on cabriole legs ending in pad feet, the whole accented with scrolling and floral patterns. h. 38-1/2”, w. 33”, d. 19” $1,000-$1,500

261

262 F. Ciotta (Italian, 19th/20th Century) “The Toast” oil on canvas signed lower right.

Framed.

22” x 27”, framed 25-3/4” x 30-1/2” $1,000-$1,500

262

263 Pair of Handsome Italian Giltwood Oval Mirrors fourth quarter 19th century, the elaborate pierced crest with overhanging acanthus leaves and scrollwork, the mirror surround with fluted edges against a sanded field, the lower portion matching the crest. h. 39”, w. 23” $2,000-$4,000

263

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264

264 Pair of Italian Rococo Walnut Commodes on Stands ca. 1800, of bombe form, each with a pair of drawers with inlaid stringing and crossbanding, a scalloped shell-carved apron, serpentine sides and cabriole legs. h. 36”, w. 42”, d. 19” $1,500-$2,500

265 Beveled and Engraved Venetian Mirror second quarter 19th century, the surround with upper rounded corners, scalloped and beveled edges, engraved with trailing flowers, the crest with flower engraving flanked by scrolled and beveled panels and engraved leaves, the corner seams covered with leaf-form beveled and engraved panels. h. 53”, w. 31” $1,000-$1,500

265

115

267 Italian Giltwood and Marble-Top Console Table 20th century, the top with a conforming inset white marble, the aprons pierced and carved with scrolls and foliate motifs, raised on cabriole legs. h. 35”, w. 60”, d. 20” $1,500-$2,500

266

266 Italian Rococo-Style Walnut-Stained Hardwood Settee the scalloped back centered by a carved shell over a shaped splat, the open arms with scroll ends, with a serpentine front seat rail and cabriole legs. h. 34-1/2”, w. 53-1/2”, d. 22” $1,000-$1,500

267

268 Italian Giltwood Mirror in the Rococo Taste fourth quarter 19th century, the ogee-carved surround ornamented with corner panels of scrollwork and flowerheads on a sanded ground, mounted with a pierced crest depicting an urn of flowers flanked by smaller urns and trailing flowers, the lower edge with a pierced and scrolled apron, and pierced corners decorated with flowerheads and scrolls. h. 53-1/2”, w. 31-1/2” $1,000-$1,500

268

116

269

270 Attributed to Alf red Pollentine (British, 1836-1890)

269 Exuberant Venetian Polychromed Settee

“Venice Harbor”

18th century, of bench form with an arched back adorned with a carved plume cartouche, padded back, scrolled arms and raised on cabriole legs ending in hoof feet. h. 66”, w. 77”, d. 28”

oil on canvas unsigned.

Framed.

30” x 48”, f ramed 36” x 54”

$3,000-$5,000

Provenance: Private collection, Georgia. $3,000-$5,000

270

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271

271 Pair of Giltwood, Gilt-Metal and Glass Chandeliers second quarter 20th century, in the Swedish/Russian taste, the ten-light chandeliers with a leaf-carved standard with parcel-gilt, silver-gilt and painted decoration, set with scrolled gilt-metal candle arms hung with swags of drops, the corona decorated with two tiers of swagged drops. h. 37”, dia. 25” $2,500-$4,000

272 Two Italian Carved and Painted Venetian Blackamoors ca. 1900, the shorter example of a male figure dressed in a turban, holding a dish-top tray, h. 42”, w. 13-3/4”, d. 12”, and the taller example of a female on a fringed pedestal, holding a tray aloft, h. 48-3/4”, w. 10-1/2”, d. 11-1/2”. $1,200-$1,800

272

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273

273 Italian Giltwood Stool in the Rococo Taste late 18th century, the upholstered cushion over a scalloped shell- and foliate-carved apron, raised on cabriole legs. h. 20”, w. 41”, d. 18-1/2” $1,000-$1,500

274 Pair of Venetian Murano Gilt-Flecked Blown Glass Torcheres 20th century, the fluted standards composed of vasiform and spherical elements, and set with scrolled arms with inverted umbrella-form lights, with a crown of volutes hung with drops. h. 85-1/2”, dia. 24-1/2” $1,400-$1,800

274

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275 276

275 Pair of Italian Venetian Mirrors 20th century, the octagonal mirrors with engraved, segmented surrounds framed with blown glass rope-twist trim, the corners decorated with blown glass flowers. h. 47”, w. 38-1/2” $1,200-$1,800 276 Venetian-Style Blackamoor Table 20th century, in stained hardwood, the top carved in shallow relief with a curtain-form apron, supported by a carved kneeling figure, the underside of the top affixed with a metal label, “From the Collection of Loyd-Paxton, Dallas, Texas”. h. 37-1/4”, w. 29”, d. 22-1/4” $2,000-$4,000 277 Pair of Painted Metal Torcheres second quarter 20th century, raised on scrolled, leaf-molded feet, the standards with clustered rope-twist columns and molded leaves, set with cylindrical candle cups and scalloped drip pans, over scrolled capitals set with rope-twist rings. h. 50-3/4”, dia. 13” $2,000-$4,000

277

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278

279

278 Patinated Bronze Hall Lantern in the Rococo Style the four-light lantern set with concave engraved glass panels, with a ring-pierced upper trim and a scrolled crest, with upper and lower rococo-molded ogee supports. h. 44”, dia. 23” Provenance: The Anne Rice/Nicolas Cage Garden District Mansion, New Orleans, Louisiana. $1,000-$1,500 279 Patinated Bronze Hall Lantern in the Rococo Style the four-light lantern set with concave engraved glass panels, with a ring-pierced upper trim and a scrolled crest, with upper and lower rococo-molded ogee supports. h. 44”, dia. 23” Provenance: The Anne Rice/Nicolas Cage Garden District Mansion, New Orleans, Louisiana. $1,000-$1,500 280 Patinated Bronze Hall Lantern in the Rococo Style the four-light lantern set with concave engraved glass panels, with a ring-pierced upper trim and a scrolled crest, with upper and lower rococo-molded ogee supports. h. 44”, dia. 23” Provenance: The Anne Rice/Nicolas Cage Garden District Mansion, New Orleans, Louisiana.

280

$1,000-$1,500

121

281

281 Contemporary Steel and Marble Console Table

282 Contemporary Steel and Marble Console Table

incorporating a late 19th-/early 20th-century ecclesiastic marble architectural panel as a frieze, the panel centered by an urn flanked by open foliate carving and leaf-carved roundels, the table with a slab marble top and square legs. h. 34”, w. 50”, d. 14-1/2”

incorporating a late 19th-/early 20th-century ecclesiastic marble architectural panel as a f rieze, the panel centered by an urn flanked by open foliate carving and leaf-carved roundels, the table with a slab marble top and square legs. h. 34”, w. 50”, d. 14-1/2”

$2,000-$4,000

$2,000-$4,000

282

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283

283 Large Painted Wood and Metal Chandelier in the Italian Provincial Taste 21st century, the twelve-light chandelier with a leaf-carved wooden standard set with two tiers of scrolled candle arms, terminating in turned wooden candle cups, the upper corona with a spray of turned and gilded wooden tassels. h. 60-1/2”, dia. 58-1/4” Provenance: The Anne Rice/Nicolas Cage Garden District Mansion, New Orleans, Louisiana. $1,200-$1,800

284 Pair of Continental Putti Carvings second half 19th century, each with a putto holding another putto aloft, on contemporary steel bases. h. 36-3/4”, w. 10”, d. 10” $2,000-$4,000

284

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285

285 Pair of Louis XIV-Style Rubberwood Fauteuils

286 Louis XIII-Style Rubberwood Settee

each with open arms with scroll ends, raised on balusterturned supports, on trumpet and ball-turned legs joined by a scalloped stretcher, upholstered in beige brocade. h. 44-1/2”

the double arched back joined to arms with scroll ends, raised on baluster-turned supports, on trumpet and ball-turned legs joined by a scalloped stretcher, upholstered in beige brocade. h. 45”, w. 52-1/4”, d. 26-1/2”

$1,000-$1,500 $1,000-$1,500

286

124

287 Louis XIII-Style Stripped Beechwood Bench the arm rests on baluster-turned supports, the segmented turned legs joined by a scroll- and leafcarved stretcher, with turned box stretchers below. h. 28”, w. 46-3/4”, d. 18” $1,000-$1,500

288 French Giltwood Mirror in the Baroque Taste

287

ca. 1900, the ogee surround decorated with scrollwork, the arched crest with a masque framed with bold scroll and rocaille work, the sides with trailing flowerheads, the lower edge decorated to match. h. 59-1/2”, w. 45-1/2” $3,000-$5,000

289 French Giltwood Stool 20th century, of curule form with relief-carved details, the richly upholstered seat trimmed with a braided fringe and tassels. h. 19”, w. 24”, d. 18” $1,000-$1,500

289

288

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290

290 Pair of Louis XIV-Style Faux Ostrich Skin and Oak Fauteuils early 20th century, of generous proportions, the open arms with leaf-carved ends, on turned supports, the legs joined by a leaf- and scroll-carved stretcher and a lower turned H-form stretcher, the upholstery in green faux ostrich leather. h. 46” $1,000-$1,500 291 Louis XIV-Style Chinoiserie and Walnut Stool

291

the upholstered cushion in green velvet, on a chinoiseriedecorated frame, supported by a beaded roundel and scroll-carved base. h. 25-1/2”, w. 32”, d. 20” $1,000-$1,500 292 Pair of Chinoiserie-Decorated Side Tables early 20th century, in the Louis XV taste, of kidney form, each with a pair of drawers and raised on slender cabriole legs. h. 23-1/2”, w. 18-1/2”, d. 11” $1,000-$1,500

292

126

293 Louis XV-Style Ebonized Chinoiserie and Portor MarbleTop Commode early 20th century, the slightly bowed portor marble top above a conforming case fitted with two long drawers, the sides and drawers decorated with a gilt and polychrome chinoiserie landscape and fishing scene, raised on cabriole legs ending in sabots. h. 33”, w. 46-1/2”, d. 23-1/2” Provenance: Private collection, New Orleans, Louisiana. $1,200-$1,800 294 Fanciful French Polychrome Glass and Gilt-Metal Chandelier 20th century, the ten-light chandelier with a glass beadlined gilt-metal frame hung with glass florettes and sprays of various colored glass fruit, over scrolled glass beaded arms hung with more colored glass fruit and lozenge-form colored glass drops, with a central spherical cut glass pendant f inial. h. 39”, dia. 29”

294

Provenance: Private collection, Houston, Texas. $1,500-$2,500 295 Louis XV-Style Mahogany and Parcel-Gilt Vitrine early 20th century, of serpentine form with an arched top and shell-carved crest, the lower panels with applied giltwood carvings, raised on cabriole legs. h. 81”, w. 32”, d. 17” $1,200-$1,800

293

295

127

296 French Belle Epoque Gilt-Bronze Boudoir Mirror ca. 1900, in the Louis XV style, the pierced frame decorated with rocaille work and flowerheads, and set with a beveled mirror plate, supported on an easel back. h. 24-1/2”, w. 14”, d. 12” $1,000-$1,500 297 Pair of French Gilt-Bronze Candlesticks and a Figure of Cupid Cast by Ferdinand Barbedienne, Paris 20th century, in the Louis XIV taste, the candlesticks with octagonal bases decorated with scrollwork, the fluted standards with molded shells and Ionic capitals, h. 9-1/2”, dia. 4-3/4”, and the gilt-bronze figure of Cupid modeled clutching his bow, h. 10”, w.

6-1/4”, d. 4-1/4”.

296

$1,000-$1,500 298 Pair of Louis XV-Style Giltwood Bergeres avec Oreilles late 19th century, each with a padded back surmounted by a foliate crest, joined by shaped and padded sides and out-scrolled arms to the cushioned seat, raised on molded cabriole legs ending in foliate-carved toes. h. 43-1/2” $1,200-$1,800

297

298

128

299 300 Suite of Eight Louis XV-Style Ormolu-Mounted Mahogany Dining Chairs

299 French Giltwood Overmantel Mirror in the Rococo Taste fourth quarter 19th century, the bold, pierced and scrolled surround decorated with flowerheads on a sand-crusted ground, the lower corners with pierced garlands and flowers, the crest with a scroll-supported putto framed with garlands of pierced flowers, set with a beveled mirror plate. h. 63”, w. 58”

20th century, each with a padded shield-form back surmounted by an ormolu foliate crest, with padded seat and cabriole legs headed by ormolu capitals and ending in cast sabots. h. 44-1/2”, w. 22”, d. 22”

$1,500-$2,500

$1,200-$1,800

300

129

301 Louis XV-Style Kingwood and Marble-Top Commode 20th century, the rouge marble top with a slightly bowed center, above a conforming bombe case fitted with two short drawers over two long drawers, all with inset parquetry veneers and finely figured ormolu mounts, raised on splayed legs ending in sabots. h. 35”, w. 49-1/2”, d. 22” Provenance: Private collection, Houston, Texas. $1,800-$2,500

301

302 Regence-Style Mixed Fruitwoods and Marble-Top Commode the shaped marble top with a molded edge, over a conforming bombe case fitted with two short drawers over two long drawers, all banded and with parquetry veneers, raised on splayed feet to sabots. h. 35”, w. 43”, d. 18” $1,000-$1,500

302

303 Pair of Exceptional Bronze Dore and Polished Steel Sconces second quarter 20th century, French, in the neoclassical taste, the steel vasiform standards supported by gilt bowknots, the scrolled candle arms secured with masques and terminating in leaf-molded and reeded candle cups, hung with bronze fruit swags. h. 30-3/4”, w. 17-3/4”, d. 11” $4,000-$7,000

303

8 130

304

306

305

304 Pair of Louis XV-Style Giltwood Bergeres early 20th century, each with an arched and padded back, acanthus- and bellflower-carved arms, shell-carved aprons and raised on cabriole legs ending in scrolled toes. h. 44”, w. 28”, d. 27” $3,000-$5,000 305 French Provincial Carved, Polychromed and Marble-Top Commode

306 Louis XIV-Style Polychromed and Marble-Top Side Table 20th century, the bowed marble top with projecting canted corners, above a conforming shaped foliate-carved frieze, raised on molded cabriole legs headed by a foliate shield capital and ending in scrolled toes. h. 33”, w. 47”, d. 24” $1,500-$2,500

19th century, retaining its original, conforming thick marble top above three shaped and carved long drawers, with a scalloped and shell-carved skirt, raised on carved feet. h. 35”, w. 46-1/2”, d. 21” $1,500-$2,500

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307 detail

307

307 Partial Herend “Queen Victoria Old” Dinner Service 20th century, Hungarian, the service comprised of eighteen dinner plates, dia. 10”, eighteen cream soup bowls, h. 2-1/4”, dia. 5-3/4”, and seventeen underplates, dia. 6-1/4”, eighteen salad plates, dia. 8”, eighteen bread-and-butter plates, dia. 6”, a pair of round covered vegetable dishes, h. 6”, w. 6-3/4”, d. 6”, and a rectangular dish, w. 7”, d. 5-1/2”. $2,000-$4,000 308 French Polychromed and Parcel-Gilt Trumeau Mirror 20th century, of Louis XV inspiration, the upper tablet decorated with a carved giltwood basket of roses framed with scrollwork, carved grapes and grapevines, the celadonwashed surround framed with recessed russet molding. h. 61-1/4”, w. 48” Provenance: Negrel Antiques, Austin, Texas; Private collection, Houston, Texas. $1,000-$1,500

308

309 Set of Six Louis XV-Style Polychromed Side Chairs each with a shaped and padded back surmounted by a scrolling shell crest and within a pierced scroll frame, the padded seat raised on molded cabriole legs ending in foliate scrolled toes. h. 41” $1,000-$1,500

309

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310

311

310 Maria Theresa-Style Gilt-Metal and Glass Chandelier 20th century, the twenty-five-light chandelier with glass-clad arms supporting two tiers of lights, each with molded glass prism rings, the arms hung with cut glass drops, the corona with a top spray of prisms over swags of prism-hung cut glass drops, one interior light near base h. 40”, dia. 40” $1,200-$1,800 311 Maria Theresa-Style Gilt-Metal and Glass Chandelier

312

20th century, the twenty-five-light chandelier with glass-clad arms supporting two tiers of lights, each with molded glass prism rings, the arms hung with cut glass drops, the corona with a top spray of prisms over swags of prism-hung cut glass drops, one interior light near base h. 40", dia. 40" $1,200-$1,800 312 Pair of Maria Theresa-Style Gilt-Metal and Glass Sconces 20th century, the six-light sconces with mirrored backplates, with glass-clad metal arms and glass spire-mounted coronas hung with swags of drops, the glass candle cups with molded glass prism rings, with more swags hung below. h. 28-1/2”, w. 21-1/4”, d. 22” $1,200-$1,800 313 Louis XVI-Style Polychromed Wing Chair early 20th century, the frame with floral vine carvings, the seat with a loose cushion, raised on turned and fluted legs. h. 48”, w. 29”, d. 26” $1,200-$1,800

313

133

314 Directoire Polychromed and Marble-Top Demi-lune Console Table late 18th century, the conforming marble top with a reeded leading edge over a carved frieze centered with a flower basket, raised on fluted tapering square legs. h. 36”, w. 38”, d. 19” $2,000-$4,000

314

315 French Carved and Painted Trumeau Mirror ca. 1900, in the neoclassical taste, the upper tablet with an oval portrait of Marie Antoinette, f ramed with garlands of flowers on a grid of square rosettes, the mirror plate with a parcel-gilt guillochecarved inner surround, egg-and-dart molding on the outer edges, and guilloche and rosettes with gilt centers. h. 92”, w. 41” Provenance: Private collection, New Orleans, Louisiana. $1,000-$1,500 316 Louis XVI-Style Giltwood Bench/Stool ca. 1900, with a padded seat of serpentine form and raised on turned and fluted legs. h. 20”, w. 36”, d. 18” $1,500-$2,500

315

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316

317 Louis-Philippe-Style Aubusson Needlepoint Carpet 12’ x 17’ 2” $1,500-$2,500 318 Maria Theresa-Style Crystal Chandelier 20th century, the eight-light chandelier with a scrolled metal frame lined with crystal beads, the scrolled arms set with molded glass drip pans hung with swags of drops hung with cut glass prisms, the upper portion with similar swags of drops and prisms. h. 29-1/2”, dia. 26-1/2” Provenance: The Anne Rice/Nicolas Cage Garden District Mansion, New Orleans, Louisiana. $1,000-$1,500

318

317

135

319 Louis XVI Polychromed and Parcel-Gilt Chaise Longue 18th century, the curved and slightly domed padded back within a molded frame, joined to a long bisected and padded seat by scrolling arms, raised on stop-fluted turned legs ending in toupie feet. h. 37”, w. 26”, l. 63” $1,500-$2,500 320 French Aubusson Carpet 12’ x 17’ 7” Provenance: Stark Carpet, Houston, Texas; private collection.

319

$3,000-$5,000

320

136

321 Pair of Sormani Inlaid Mahogany Encoignures 19th century, in the Louis XVI taste, each demilune cabinet with a Brescia marble top over an inlaid door depicting a classical-era village, with gilt-bronze mounts throughout, each cabinet with an incised stamp, “Sormani”. h. 35”, w. 25-1/2”, d. 18-1/4” Provenance: A River Oaks Estate, Houston, Texas. $1,200-$1,800

321

321 detail

322 Transitional Louis XV/XVI-Style Kingwood and Marble-Top Side Table early 20th century, retaining its original Rouge Griotte marble top, as well as a later white marble top, above a conforming case fitted with a frieze drawer with gilt-bronze banding over two drawers with marquetry-inlaid floral sprays, banded en suite, raised on slightly splayed legs ending in sabots. h. 32”, w. 22”, d. 14” $1,200-$1,800

322

323 French Griotte de Campan Rouge Marble and Gilt-Bronze-Mounted Pedestal early 20th century, the square top mounted to a tapering cylindrical column with a gilt-bronze Corinthian capital, the stepped base with cast bronze moldings. h. 44”, top w. 9-1/2”, d. 9-1/2”, base w. 10-1/2”, d. 10-1/2” $1,000-$1,500

323

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324 Louis XV-Style Inlaid Mahogany Bureau Plat 20th century, the top with a brass gallery, the frieze with inlaid banding, the drawer opening to reveal a writing board with a tooled leather work surface, raised on tapering lineinlaid legs with bronze sabots. h. 30”, w. 31-1/4”, d. 18-5/8” $1,200-$1,800

325 Suite of Four Louis XVI-Style Fauteuils

324

20th century, each chair with a molded back joined to open arms, bowed seat rail and fluted tapering circular legs, upholstered in urn-and-floral damask on a cream ground, the seats with loose cushions. h. 35-1/4” Provenance: A River Oaks Estate, Houston, Texas. $1,000-$1,500

324 detail 326 Pair of French Restauration Gilt-Bronze Figural Candlesticks second quarter 19th century, with f igures of “Atlas” supporting the reeded candle cups, on leaf-molded vasiform standards, supported on molded paw feet. h. 9-3/4”, dia. 3-1/2” $1,000-$1,500

326

325

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327

328

327 Louis XV-Style Fruitwood Child’s Chair

330 Handsome Restauration Gilt-Bronze Surtout de Table

20th century, with a molded back joined to like rails, the serpentine front centered by floral and leaf carving, on cabriole legs with French toes. h. 25-1/4”, seat h. 13-1/2”

second quarter 19th century, French, decorated with a border of leaves and flowers, set with a raised pierced gallery of grapes and grape leaves, raised on reeded feet, set with an antique mirror plate and retaining a rich gilded surface, carefully constructed on an oak interior f ramework. h. 3-3/4”, w. 24-1/2”, d. 24-1/2”

$1,000-$1,500

$2,000-$4,000

328 Louis XVI-Style polychrome and Parcel-Gilt Canape ca. 1900, with a single cushion, the frame carved with stylized foliate motifs, guilloche bands and fluting throughout, now upholstered in a boldly-patterened coral and dark sage fabric, probably Fortuny. h. 36-1/2”, w. 61-1/2” $2,500-$4,000 329 Partial Service of Herend “Rothschild Bird” Porcelain 20th century, Hungarian, each piece marked, the service including a soup tureen, h. 8-1/2”, w. 11-3/4”, d. 8”, an oval platter, w. 13-1/4”, d. 9-1/2”, ten dinner plates, dia. 10-1/4”, twelve footed cups, h. 2-1/2”, and twelve saucers, dia. 6-3/4”, a teapot, h. 6-3/4”, w. 9-1/2”, d. 5-3/4”, a cream jug, h. 3-1/2”, w. 4-1/2”, and a covered sugar bowl, h. 4”, dia. 3-1/2”.

330

$1,200-$1,800

329

139

331

331 Pair of Provincial Louis XV-Style Fruitwood Fauteuils 20th century, each with a carved and molded frame and floral center crest, the slightly curved seat frame centered with a relief-carved flower basket, raised on cabriole legs, the seats with a conforming loose cushion. h. 38”, w. 29”, d. 22” Provenance: Waldhorn’s Antiques, New Orleans, Louisiana; Private collection, New Orleans, Louisiana. $1,400-$1,800

332 Louis XV-Style Inlaid Mahogany and Kingwood Commode

332

late 20th century, the serpentine top over a bank of three conforming drawers, each with leaf and urn inlay, raised on cabriole legs. h. 29-1/2”, w. 34-1/2”, d. 17-1/2” $1,000-$1,500

333 Louis XV-Style Kingwood, Marquetry-Inlaid and MarbleTop Side Table early 20th century, retaining its original Breche de Benou Jaune marble top above a case fitted with two drawers, the legs with ormolu mounts and ending in cast sabots, the whole inlaid with floral sprays. h. 32”, w. 30”, d. 17” $1,000-$1,500

333

140

334

334 detail

334 Pair of Exceptional Jacob Petit Paris Porcelain and GiltBronze Candelabra mid-19th century, French, the six-light candelabra beautifully painted with scenes of shepherds and shepherdesses dressed in 18th-century costume, in Arcadian landscapes on the obverse, and baskets of flowers and birds on the reverse, trimmed in raised gilt, on a blue celeste ground, with Louis XV-style gilt-bronze mounts, the candelabra inserts in the form of candle socket-mounted lilies interspersed among sculptured lilies, the insert base made of seamed sheet brass, each signed “J.P.” in underglaze blue. h. 32”, dia. 12” Provenance: A River Oaks Estate, Houston, Texas. $1,400-$1,800 335 French Patinated Bronze and Crystal Chandelier second quarter 20th century, the thirty-two-light chandelier in the Louis XIV style, the bronze frame set with twelve branches, each with two tiers of candles, alternating with arms hung with cut glass drops, the interior with eight lights, the frame hung with multiple sprays of cut drops and a lower spherical drop. h. 45”, dia. 26” $1,500-$2,500

335

141

336 Gail Sherman Corbett (American, 1871-1952) “Winter View of the Louvre from Tuileries Garden” oil on canvas signed lower left.

Framed.

20” x 16”, framed 27” x 23” $1,000-$1,500

336

337 Albert Marie Lebourg (French, 1849-1928) “L’Ecole de la Monnaie” oil on canvas signed lower right.

Framed.

10-3/4” x 18-1/4”, framed 18” x 25-1/2” Provenance: Private collection, New Orleans, Louisiana. $4,000-$7,000

337

338 Francois Gerome (French, b. 1895) “La Belle Parisienne” oil on canvas signed and localized “Paris” lower right.

Giltwood frame.

20” x 24”, framed 24” x 28” $1,000-$1,500

338

142

340

339 Directoire-Style Polychromed Window Seat

340 Louis XV-Style Painted Bureau Plat

20th century, the long cushioned seat flanked to either end by padded out-scrolled arms, above a foliate- and pateracarved apron, raised on splayed legs ending in acanthinecarved scrolled toes. h. 30”, w. 84”, d. 28”

early 20th century, the rectilinear top with a molded edge, above a f rieze f itted with a single drawer and adorned with guilloche carving on all sides, raised on fluted tapering circular legs. h. 30-1/4”, w. 36-3/8”, d. 20-1/4”

Provenance: Estate of Carol A. Straus, Houston, Texas.

Provenance: Karla Katz Antiques, New Orleans, Louisiana; Private collection, New Orleans, Louisiana.

$1,000-$1,500 $1,000-$1,500

339

143

341 342

341 Molded Glass Chandelier in the French Neoclassical Taste

342 Molded Glass Chandelier in the French Neoclassical Taste

20th century, the eighteen-light chandelier with a glassclad standard hung with strings of glass prisms, two tiers of scrolled glass candle arms set with glass prism rings, supporting swags of glass drops hung with prisms, the upper portion with double coronas of glass scrolls hung with drops. h. 76”, dia. 38”

20th century, the twenty-four-light chandelier with a glassclad standard hung with strings of glass prisms, two tiers of scrolled glass candle arms set with glass prism rings, supporting swags of glass drops hung with prisms, the upper portion with double coronas of glass scrolls hung with drops. h. 84”, dia. 38”

Provenance: The Anne Rice/Nicolas Cage Garden District Mansion, New Orleans, Louisiana.

Provenance: The Anne Rice/Nicolas Cage Garden District Mansion, New Orleans, Louisiana.

$2,500-$4,000

$3,000-$5,000

144

344

346

343 345 343 Pair of Louis XVI-Style Creme-Peinte and Parcel-Gilt Stools 20th century, each with demi-lune seat rails capped by leaf carving and fitted with a loose cushion, supported by fluted saber-form legs, upholstered in sand cut velvet. h. 28”, w. 24-1/2”, d. 19”

345 Pair of Patinated Copper-Clad Architectural Plaques f irst quarter 20th century, in the Beaux-Arts taste, each with a recessed center panel decorated with bowknots trailing ribbons, the center with a beaded hemispherical bracket. h. 56”, w. 17” $1,200-$1,800

Provenance: Keil’s Antiques, New Orleans, Louisiana; Private collection, New Orleans, Louisiana. $1,000-$1,500 344 Arched Bronze Sur la Porte in the French Neoclassical Taste molded in the form of ribbon-bound acanthus leaves. h. 11”, w. 38-1/2”

346 Restauration Parcel-Gilt Mahogany and Marble-Top Center Table second quarter 19th century, the circular dished marble top supported by a reeded baluster-form pedestal, over a tripodal base, the legs with foliate-carved knees and ending in paw feet. h. 29”, dia. 36” $1,000-$1,500

$1,000-$1,500

145

347 Louis XVI-Style Aubusson Carpet 9’ x 12’ $1,000-$1,500

347

348 Empire-Style Aubusson Carpet bears logo for French Accents, New York City.

9’ 1” x 12’ $1,500-$2,500

348

146

349

350

349 Two Pairs of Louis-Philippe Patinated Bronze and Marble Garniture Urns second quarter 19th century, French, each pair composed of giallo antico marble, the larger pair with molded scrolled handles terminating in rosettes, and the smaller pair with handles terminating in molded lion’s heads. h. 6-3/4” to 8-3/4”, w. 5-1/4”, d. 3-3/4” $1,200-$1,800 350 Pair of French Empire-Style Bronze Dore et Patine Sconces mid-20th century, the two-light sconces with arrow-form backplates decorated with roundels depicting Roman gladiators, and set with pairs of molded and scrolled arms supporting engineturned, inverted bell-form candle cups. h. 20-3/4”, w. 8-1/2”, d. 4-3/4” $1,000-$1,500

351

351 Carved and Parcel-Gilt Mirror in the French Empire Taste third quarter 20th century, the upper tablet with a basket of flowers, the sides with turned pilasters decorated with carved acanthus leaves, the cove-molded crest decorated with matching leaf carving. h. 52-1/2”, w. 40”, d. 3” $1,200-$1,800 352 Napoleon III Marble and Gilt-Bronze Mantel Clock third quarter 19th century, the white marble clock with an eagle finial and set with black marble fluted columns with gilt-bronze stop-fluting, the engine-turned bezel ornamented with pierced laurel branches, the base with bas-relief neoclassical panels, with an unusual pylon-form glass cover on a mahogany-veneered base. h. 27-1/4”, w. 18-1/4”, d. 6-3/4” $1,500-$2,500

352

147

353 Painted Metal Chandelier of French Empire Inspiration third quarter 19th century, in the form of a hot air balloon, the pierced balloon hung with parcel-gilt tole swags, the scrolled arms with gilt-metal swags and bellflower drops. h. 26”, dia. 16-1/2” $1,000-$1,500 354 French Bronze Bust of Napoleon Bonaparte 20th century, after Renzo Colombo (Italian/French, 18561885), cast signature along back edge, figure in military dress with cape and tricorne hat, on a thin marble base. h. 24-1/2”, w. 14-1/2”, d. 11-1/2” $1,500-$2,500

353

355 354 355 Pair of Sophisticated Restauration Patinated Bronze and Marble Garniture Urns second quarter 19th century, French, the kylix-form urns with reeded bodies supported on griotte marble plinths with lotus-molded and patinated bronze base trim. h. 10”, w. 6-1/4”, d. 5-1/2” $1,000-$1,500 356 Directoire-Style Ebonized and Parcel-Gilt Fruitwood and Marble-Top Console Table 20th century, the rounded marble top over a conforming apron, supported by ebonized columns with gilt foliatecarved capitals and bases, joined to a shaped low shelf, the X-form back joined to flat columns. h. 34-3/4”, w. 37”, d. 12-1/4” Provenance: A River Oaks Estate, Houston, Texas.

356

148

$1,000-$1,500

357

357 School of Jean-Leon Gerome (French, 1824-1904) “Le Prisonnier” oil on canvas signed “J. L. Gerome” lower left.

Framed.

17-1/4” x 29”, framed 29-1/4” x 41-1/4”

358

$1,500-$2,500 358 Directoire-Style Sliver Leaf Bench each end of chair-back form with a fluted and roundel-mounted top rail over an anthemion-form splat, raised on flared legs. h. 30-3/4”, w. 49-1/2”, d. 13-1/4” Provenance: Chrestia Staub Pierce, New Orleans, Louisiana; Private collection, New Orleans, Louisiana. $1,200-$1,800 359 Baccarat Bronze and Crystal Chandelier in the Louis XIV Style first quarter 20th century, French, the bronze frame with a standard clad with cut crystal, the scrolled candle arms set with leaf-molded candle cups and signed Baccarat drip pans, the arms hung with cut glass drops alternating with molded glass spires. h. 52”, dia. 27” $2,500-$4,000

359

149

361

360 Louis-Philippe-Style Mahogany Tall Chest 20th century, the case with seven drawers, each with cast brass pulls and escutcheons, on a plinth base. h. 58”, w. 41-1/2”, d. 19” $1,000-$1,500

361 Exceptional Napoleon III Bronze Dore et Patine Clock Set third quarter 19th century, in the rococo revival taste, the richly decorated clock with gilt-bronze scrollwork and alabaster panels, set with a pair of bronze figures of children, the left child reading a scroll inscribed “LaFontaine”, referring to French fabulist Jean de La Fontaine, the right child with a gilt-bronze fish, referring to La Fontaine’s fable, The Little Fish and the Fisherman, the clock signed by “Raingo Freres, Paris”, on the dial and the works, h. 14-1/2”, w. 27-1/2”, d. 3”, and the matching candlesticks decorated with bronze patine putto holding aloft gilt-bronze candlesticks, h. 19”, dia. 9”.

Provenance: The Claiborne-Humphreys Mansion, Esplanade Avenue, New Orleans, Louisiana.

360

$3,000-$5,000

362 French Art Nouveau Bronze and Glass Chandelier first quarter 20th century, the chandelier decorated with an angel standing on bronze scrolled branches, set with three lights, each with a frosted glass floriform shade. h. 23”, w. 22”, d. 12-1/2” $1,000-$1,500

362

150

363 French Patinated Bronze of Cupid second quarter 19th century, the beautifully detailed figure seated with his torch cast aside, raised on a Siena marble plinth. h. 32-1/2”, w. 11”, d. 6-1/4” $1,000-$1,500

363

364 Pair of Louis XVI Giltwood and Marble-Top Consoles 18th century, each retaining its Gris Sainte-Anne Belge marble top over a carved frieze and floral swags, raised on fluted tapering circular legs joined by a stretcher centered by a carved flower-basket finial. h. 33-1/2”, w. 21”, d. 10” $2,000-$4,000

364

365 Pair of Exceptional French Bronze Dore et Patine Sconces mid-20th century, in the neoclassical taste, the standards in the form of Etruscan vases with fruit, the scrolled arms secured with satyr heads and terminating in leaf-molded and reeded candle sockets with matching drip pans, the arms hung with swags of fruit and beading. h. 24”, w. 18-1/2”, d. 11-1/4” $4,000-$7,000

365

151

366 French Three-Panel Wallpaper Screen in the Rococo Taste ca. 1900, each panel decorated with putti-form planters on neoclassical bases with lush arrangements of pink flowers and trailing ivy, on a blond grained ground, framed with an anthemia-decorated border and marbleized bases. overall h. 84-3/4”, w. 66-3/4” $1,000-$1,500

368

366

367 Pair of Louis XVI-Style Polychromed Fauteuils ca. 1900, the crest rails with relief-carved foliate motifs and lotus finials, above a padded back and seat joined by acanthine-carved arms and raised on turned and fluted legs. h. 40”, w. 25”, d. 26” $1,400-$1,800 368 French Bronze Chandelier in the Baroque Style 20th century, the twelve-light chandelier with a molded and turned standard decorated with masques and figures of Athena, and set with shaped arms with leaf molding. h. 25-1/2”, dia. 25” $1,000-$1,500

367

152

369 Louis XVI-Style Fruitwood Cabinet early 20th century, the rectangular top with a molded edge and recessed center section, above a conforming case fitted with a central wreath-centered panel flanked to either side by a paneled drawer over a paneled cupboard with garland carving, raised on paneled tapering square feet. h. 39-1/2”, w. 64-1/2”, d. 20-1/2” $1,800-$2,500

370 Henry Schouten (Belgian, 1864/7-1927) “Chrysanthemums” oil on canvas signed lower left with pseudonym “Jos Klaas”.

Framed.

32” x 39”, framed 43” x 51”

370

$3,000-$5,000

371 Gustave-Emile Couder (French, 1845-1903) “Still Life of Flowers and Oranges” oil on canvas signed lower right.

Framed.

20” x 15”, framed 32” x 27” $3,000-$5,000

371

369

153

372 Follower of Abraham Mignon (German/Dutch, 1640-1679) “Floral Still Life of Roses, Tulips and Lilies in a Vase with Basket of Fruit on a Table” oil on canvas faintly signed “Mignon fecit” and dated “Anno 1660” lower left, stretchers and frame backing with old black auction inventory number stencils and white and yellow chalk numbers.

Presented in a period carved giltwood and plaster frame.

50-1/4” x 42”, framed 68-1/2” x 58-1/4” $1,500-$2,500 373 French Gilt-Bronze Chandelier second quarter 20th century, the scroll-molded frame supporting downturned arms molded as ribbon-bound bundles of reeds, set with frosted glass floriform shades, the center with a single vertical light, set with a pierced corona decorated with molded panels. h. 24”, dia. 24-1/2” $1,000-$1,500 374 French Gilt-Bronze Chandelier first quarter 20th century, the six-light chandelier with a reeded frame ornamented with applied leaves and leafmolded shade holders, set with frosted glass floriform shades, the center with a stop-fluted bronze urn with bellflower decoration. h. 29-1/2”, dia. 25”

372

$1,200-$1,800

373

154

374

375 Attributed to Julius LeBlanc Stewart (American/French, 1855-1919) “Reclining Nude in Verdant Landscape” oil on canvas unsigned.

Framed.

18” x 24”, framed 28” x 34” Provenance: Private collection, Georgia. $4,000-$7,000

375

376 Paul Desire Trouillebert (French, 1829-1900) “Portrait de Femme aux Roses” oil on canvas signed and dated “1885” upper left, verso with multiple “Christie’s” labels.

Framed.

26” x 22”, framed 36” x 32” Provenance: Christie’s New York, October 24, 1997, lot 373; Private collection, Georgia. $1,200-$1,800

376

377 Style of Alfred de Dreux (French, 1810-1860) “Promenade” oil on canvas indistinctly monogrammed and dated lower right, “Adolphe Perrot” stencil label on canvas.

Framed.

10-1/2” x 13-3/4”, framed 16-1/2” x 20” Provenance: Private collection, Georgia. $2,000-$4,000

377

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378 Arthur Heyer (Hungarian, 1872-1931) “White Cats” oil on canvas signed lower right, partial label from “Nemzeti Szalon, Budapest” on frame backing.

Framed.

19-5/8” x 27-5/8”, framed 26-5/8” x 34-5/8” $1,000-$1,500

378

380 379 Napoleon III Ormolu-Mounted Kingwood and Marble-Top Chest fourth quarter 19th century, with an inset white marble top, the case fitted with four graduated long drawers, the top drawer with a divided interior, the lower skirt revealing an additional secret drawer. h. 38-1/2”, w. 51”, d. 21” $1,200-$1,800 380 French Belle Epoque Giltwood Mirror fourth quarter 19th century, the leaf-carved ogee surround with a beveled mirror plate and a segmented mirrored surround, set with a pedimented pierced crest decorated with scrollwork and a central anthemion. h. 71-3/4”, w. 40-3/4” $1,000-$1,500

379

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381

382

381 Bronze and Glass Hall Lantern in the Rococo Taste 20th century, with notched corners, decorated with molded rococo trim, supported on a scroll-molded upper frame and set with four interior lights with rococo-molded fittings. h. 27-1/2”, w. 13”, d. 13” $1,000-$1,500 382 French Bronze and Engraved Glass Hall Lantern in the Rococo Taste second quarter 20th century, the four-light lantern in the baroque taste, with a cylindrical bronze frame molded with lion’s heads and bellflowers, set with molded upper supports. h. 27-1/2”, dia. 13-1/2” $1,000-$1,500 383 Suite of Nine Botanicals of Pressed Hydrangeas 2021, each initialed “SW” and dated lower right.

All glazed and framed alike. each framed 17-1/4” x 13-1/4” $1,200-$1,800

383

157

384 Monumental French Bronze Hall Lantern first quarter 20th century, the eight-light lantern with a cylindrical frame and a rounded top and base, the frame decorated with rope-twist molding, the top with pierced and molded fleurs-de-lis, the flared crown with molded artichokes, the interior set with two tiers of leaf-molded candle arms set with molded candle covers. h. 75-1/2”, dia. 21” $1,200-$1,800 385 Near Pair of Louis XVI-Style Polychromed and Parcel-Gilt Fauteuils ca. 1900, each with a balloon back with molded edge and centered by a carved roundel, open arms on shaped supports, serpentine seat and fluted trumpet legs. h. 36-1/2” $2,000-$4,000

384

385

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386 Continental Giltwood Pier Mirror in the Louis XVI Taste late 19th century, the upper mirror with a pair of putti holding an oval plaque, the frame with foliate details, the base with a white marble top supported by turned and fluted legs, with a mirrored back and joined by a stretcher with a seated putto. h. 121”, w. 36”, d. 18” $1,200-$1,800

387

387 Pair of Sevres-Style Gilt-Bronze and Cobalt Porcelain Garniture Urns ca. 1900, French, with leaf-molded bronze handles, on laurelmolded bronze bases, the cove-molded covers with bronze knops depicting bunches of grapes and leaf-molded trim. h. 15-1/2”, w. 6-3/4”, d. 4-1/4” $1,400-$1,800

386

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388 389 Suite of Six Louis XVI-Style Pickled Fruitwood Side Chairs

388 Pair of Louis XVI-Style Polychromed, Parcel-Gilt and Marble-Top Console Tables

20th century, each with a pierced ribbon-carved crest and roping around the padded back, raised on turned and fluted legs. h. 41”, w. 20”, d. 18”

19th century, each with a white marble top over a pierced frieze and carved floral swags, raised on fluted tapering circular legs joined by a reeded stretcher and centered by a flame-carved finial with floral swags. h. 38-1/2”, w. 31”, d. 15”

$2,000-$4,000

$4,000-$7,000

389

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390 Fine Napoleon III Gilt-Bronze-Mounted Kingwood Cabinet fourth quarter 19th century, retaining its original conforming marble top above an ogee frieze, centered by a large bronze-mounted lion masque over a pair of long doors and raised on spiral-turned legs ending in brass caps. h. 59”, w. 47”, d. 16” $3,000-$5,000

390

391 391 Handsome Porcelain Vase in the Aesthetic Taste fourth quarter 19th century, made by Keller et Guerin, Luneville, France, decorated with carefully painted birds, dragonflies and moths against lily pads, the upper border with orientalist decoration, a hand-painted mark on the bottom. h. 14-3/4”, dia. 7-1/4” $1,000-$1,500 392 Napoleon III-Style Giltwood Ottoman after a design by Fournier, the circular cushion on a ropetwist frame, retaining fragments of its gilt surface. h. 18-1/4”, dia. 34-3/4”

392

$1,500-$2,500 393 Classical Revival Brass and Mirror Plate Surtout de Table ca. 1900, French, retaining traces of silver plate, with a balustraded edge terminating in anthemion-molded panels, raised on bracket feet. h. 3”, w. 52”, d. 24-1/4”

393

$1,500-$2,500

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394 French Patinated and Cold-Painted Bronze of “Woman In Wind” 20th century, after Auguste Moreau (French, 1834-1917), cast signature at back, on a green marble base, now with a marble columnar pedestal. sculpture h. 28-1/2”, w. 12”, d. 9”, pedestal h. 40-1/4”, w. 12”, d. 12” Provenance: Private collection, New Orleans, Louisiana. $1,500-$2,500

395

395 Jean-Jacques Henner (French, 1829-1905) “Les Baigneuses” oil on canvas laid down on masonite signed lower right.

Framed.

32-1/4” x 45-1/2”, framed 38” x 51” Provenance: Private collection, Georgia. $3,000-$5,000

162

394

396 Attributed to Jean-Jacques Henner (French, 1829-1905) “Femme Nue Vue de Dos” oil on academy board unsigned.

Framed.

19” x 15”, framed 24” x 20” Provenance: Private collection, Georgia. $3,000-$5,000 397 Attributed to Jean-Jacques Henner (French, 1829-1905) “Portrait of a Girl in Red” oil on canvas unsigned.

Framed.

16” x 12”, framed 22-5/8” x 18-3/4”

396

Provenance: Private collection, Georgia. $2,000-$4,000

398

397

398 Baccarat Crystal “Haute Couture L’Agrion Ornament” 20th century, French, the cut and molded crystal ornament with ruby and emerald plating, in its original presentation box with paperwork. dish h. 10”, w. 9”, d. 1” $1,000-$1,500

398 detail

163

399 Pair of Sectional Levanto Rouge Marble Pedestals 20th century, each with a square top with rounded corners, resting on a large cylindrical column and platform base. h. 34-1/2”, w. 14-1/4”, d. 14-1/4” $1,000-$1,500 400 Continental Classical Revival Alabaster and Bronze Chandelier first quarter 20th century, the chandelier with a fluted alabaster bowl concealing two lights, set with a bronze finial, and tree leaf-molded bronze arms supporting Greek-fretcarved alabaster shades, supported on a leaf-molded bronze frame. h. 24-3/4”, dia. 24-1/2” $1,000-$1,500 401 Ernst Beck (Austrian, 1879-1941)

399

“Classical Warrior” patinated bronze first quarter 20th century, cast signature along back of selfbase, figure wearing helmet and holding a scimitar. h. 16”, w. 8-1/2”, d. 3-1/2” $1,000-$1,500

401 400

164

402 Alfred Boucher (French, 1850-1934) “Au But” patinated bronze cast signature, a “Siot-Decauville/Fondeur/Paris” foundry mark and numbered “145L” along edge of self-base, stamped “France” in several places along side of self-base, presented on a stepped black marble plinth. overall h. 19-1/2”, w. 26-1/2”, d. 13” $5,000-$8,000 Of humble origins, Boucher was born into a farming family of less than modest means. As a young man, he entered the service of the sculptor Joseph-Marius Ramus (1805-1888) as a gardener. Ramus saw the artistic potential in his new servant and accepted him into his studio. Boucher was never to forget this fortuitous opportunity, and served as a mentor for many young sculptors, most notably the young Camille Claudel, and was known for his generosity and philanthropy.

In 1902 he formed the La Ruche studio in Montparnasse for struggling artists.

The model for the sculpture presented here was exhibited at the Paris Salon of 1886 where it was awarded a f irst class medal and widely admired for its exploration of the powerful, straining athletic body. A large-scale version was commissioned by the government to be prominently placed in Jardin du Luxembourg. The three figures are all modeled on studies of Boucher’s friend, the explorer PierreGabriel Bonvalot (1853-1933), and the resultant sculpture is a masterful depiction of the desperation of the athletes to reach the finish line.

402

403 French Patinated Bronze Lion 20th century, after Antoine-Louis Barye (French, 1795-1875), cast signature along back, on a black marble base. h. 15”, w. 24”, d. 10-1/2” $1,500-$2,500

403

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404 Napoleon III Fruitwood Writing Table late 19th century, the rectangular top with an inset leather surface, above a conforming frieze fitted with a single drawer, raised on bi-column paneled end supports, joined by a turned stretcher, to runner feet on casters. h. 28”, w. 42”, d. 24-1/2” $1,000-$1,500

404

405 Napoleon III Mahogany Tufted Settee third quarter 19th century, with a curved back and rolled arms, diamond-tufted and pleated, raised on turned legs ending in casters. h. 36”, w. 62”, d. 34” $1,200-$1,800

405

406 French Degue Bronze and Molded and Frosted Glass Chandelier second quarter 20th century, the central glass pan and four matching shades with molded Degue marks, two lights on the interior and four lights on the exterior, with handsome Art Deco bronze f ittings, supported on pierced Art Deco chains. h. 31”, dia. 30” $1,000-$1,500

406

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409 408 Sevres Art Nouveau Double-Gourd Vase 407 Collection of Ceramique d’Art Pottery by Felix Optat and Paul Milet late 19th/early 20th century, Sevres, France, the Felix Optat Milet vase decorated with sculpted irises and leaves with gilt decoration, with a stenciled underglaze “Sevres” mark, h. 12”, dia. 4-1/2”, the three green and turquoise Art Deco vases marked “MP Sevres” for Paul Milet, one of the pair signed “L. Bourgeot”, pair h. 9-3/4”, dia. 5-3/4”, single h. 9”, dia. 4-1/2”, together with a French Art Deco pottery pot marked on the bottom “Exposition Coloniale Paris, 1931” and signed “Ch dF.”, h. 3”, dia. 4”. $1,200-$1,800

ca. 1900, French, decorated with daisies on a white ground, with a “Sevres 1900 Nationale 1907” mark, along with the decorator’s initials, possibly a conjoined “HV”, h. 7-3/4”, dia.

3-1/2”; together with an aesthetic bottle vase with raised enamel, stamped “CH Fiquenet, Sevres”, h. 8-3/4”, dia. 4”. $1,000-$1,500 409 Art Nouveau Boudoir Lamp f irst quarter 20th century, Bohemian or Czech, the iridescent glass mushroom shade with oil spot decoration, the brasstrimmed base with enameled Jugendstil decoration. h. 12-1/2”, dia. 8-1/2” $1,000-$1,500

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410 Collection of Six Art Nouveau Silver Overlay Objects late 19th/early 20th century, American and Continental, the collection including two Lenox cobalt-glazed and celadonglazed vases, h. 6-1/2”, dia. 3-1/4” and h. 5-3/4”, dia. 3”, a pair of cobalt-glazed porcelain handled vases, h. 4-3/4”, dia.

2-1/2”, a colorless cut crystal trumpet vase, h. 10”, dia. 4”, and a cobalt over white overlay vase, h. 4-1/2”, dia. 3”. $1,000-$1,500

410

411 French Patinated Iron and Brass Hotel Hall Tree in the 19th-century style, doublesided with coat hooks along the top, the base partitioned for canes and umbrellas. h. 80”, w. 65”, d. 12-1/2” $1,500-$2,500

411

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413

412 Turkish Angora Oushak Runner 2’ 6” x 25’ 6” $1,000-$1,500 413 Turkish Angora Oushak Carpet 8’ 1” x 10’ $1,000-$1,500

412

169

414 416

414 Turkish Angora Oushak Carpet 8’ 3” x 9’ 8” $1,000-$1,500 415 Nain Carpet dia. 10’ $1,500-$2,500 416 Esfahan Carpet 6’ 8” x 10’ 3” $3,000-$5,000

415

170

417

417 Peshawar Karajan Carpet 11’ 10” x 14’ 7” $2,500-$4,000

171

Session II Sunday, June 6 Lots 418 - 835 PICTURED: LOT 624

418 Zircon and Diamond Necklace 14k white gold, the necklace mounted with oval-cut zircons weighing approximately 92.00 carats in total, accented by round brilliant-cut diamonds weighing approximately 9.08 carats in total. l. 17”, total weight 52.0 grams $12,000-$18,000

418

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419

420 422

421

419 Zircon and Diamond Ring

421 Bi-Colored Tourmaline and Diamond Ring

14k white gold, the ring mounted with a cushion-cut zircon weighing approximately 4.80 carats, accented by round brilliant-cut diamonds weighing approximately 0.40 carats in total. size 7, total weight 4.1 grams

14k white gold, the ring mounted with an emerald-cut bi-colored “watermelon” tourmaline weighing approximately 10.72 carats, accented by round brilliant-cut diamonds weighing approximately 1.62 carats in total. size 6-1/2, top of the ring 7/8” x 5/8”, total weight 9.4 grams

$1,000-$1,500 $2,500-$4,000 420 Bi-Colored Tourmaline and Diamond Pendant with Chain 14k white gold, the pendant mounted with a bi-colored “watermelon” tourmaline weighing approximately 21.48 carats, accented by round brilliant-cut diamonds weighing approximately 3.04 carats in total, l. 1-3/4”, suspended f rom an 18” white gold chain. total weight 14.4 grams

422 Pair of Tourmaline and Diamond Earrings 18k white gold, the lever-back pierced earrings mounted with teardrop-shaped pink tourmalines weighing approximately 3.80 carats in total, accented by round brilliant-cut and baguette-cut diamonds weighing approximately 3.80 carats in total. l. 3-1/2”, total weight 21.8 grams

$3,000-$5,000 $14,000-$18,000

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426 Pair of Morganite and Diamond Earrings 423 Large Amethyst and Diamond Ring 18k white gold, the ring mounted with a cushion-cut amethyst weighing approximately 20.15 carats, accented by a double-halo of baguette-cut diamonds weighing approximately 2.73 carats in total. size 7-1/2, total weight 19.9 grams $2,000-$4,000 424 Amethyst and Diamond Ring 18k yellow gold, the ring mounted with three oval-cut amethysts weighing approximately 13.15 carats in total, accented by round brilliant-cut diamonds weighing approximately 0.65 carats in total. size 7-1/2, total weight 11.0 grams $1,000-$1,500 425 Morganite and Diamond Ring 14k rose gold, the ring mounted with a cushion-cut morganite weighing approximately 2.93 carats, accented by round brilliant-cut diamonds weighing approximately 0.91 carats in total. size 6-3/4, total weight 4.4 grams $1,000-$1,500

14k rose gold, the post-back pierced earrings mounted with oval-cut morganites weighing approximately 5.60 carats in total, accented by round brilliant-cut diamonds weighing approximately 1.18 carats in total. l. 5/8”, total weight 5.2 grams $1,200-$1,800 427 Morganite and Diamond Ring and Pendant with Chain the 18k rose gold ring mounted with a rectangular cushioncut morganite weighing approximately 3.00 carats, accented on the ring gallery and shank with round brilliant-cut diamonds weighing approximately 0.62 carats in total, size 6, and the 18k rose gold pendant mounted with a rectangular cushion-cut morganite weighing approximately 4.67 carats, accented by round brilliant-cut diamonds weighing approximately 0.48 carats in total, l. 1”, suspended from a 16” 14k rose gold chain. total weight 7.5 grams $1,500-$2,500 428 Morganite and Diamond Ring 14k rose gold, the ring mounted with a cushion-cut morganite weighing approximately 8.00 carats, surrounded by a halo of round brilliant-cut diamonds weighing approximately 0.25 carats in total. size 7, total weight 5.5 grams $1,200-$1,800

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429 Pair of Ruby and Diamond Earrings

433 Ruby and Diamond Ring

18k white gold, the French-back pierced earrings mounted with round-cut treated rubies weighing approximately 2.00 carats in total, accented by round brilliant-cut diamonds weighing approximately 0.90 carats in total. l. 1-3/4”, total weight 8.6 grams

14k yellow gold, the ring mounted with marquise-cut treated rubies weighing approximately 1.22 carats in total and baguette- and round brilliant-cut diamonds weighing approximately 0.33 carats in total. size 6-1/2, total weight 18.5 grams

$1,000-$1,500

$1,000-$1,500

430 Ruby and Diamond Ring

434 Indian Ruby Cabochon Necklace

18k white gold, the ring mounted with a center row of squarecut treated rubies weighing approximately 0.80 carats in total, flanked on the top and bottom by a row of round brilliant-cut diamonds weighing approximately 0.55 carats in total. size 7-1/2, total weight 6.3 grams

the graduated treated ruby cabochons ranging in size from 13.1 mm to 17.0 mm and weighing approximately 840.00 carats in total, on an adjustable silk cord. total weight 220.3 grams Provenance: Property From an Important Private Collection.

$1,000-$1,500 431 Pair of Ruby and Diamond Earrings 18k white gold, the French-back pierced earrings mounted with oval-cut treated rubies weighing approximately 1.94 carats in total, accented by round brilliant-cut diamonds weighing approximately 0.67 carats in total. l. 3/4”, total weight 7.2 grams

$1,000-$1,500 435 Ruby and Diamond Ring 18k yellow gold, the ring mounted with baguette-cut and round brilliant-cut diamonds weighing approximately 1.33 carats in total, accented by square-cut and calibre-cut treated rubies weighing approximately 0.79 carats in total. size 7, top of ring 7/8” x 3/4”, total weight 7.6 grams

$4,500-$7,000 432 Ruby and Diamond Ring 18k white gold, the ring mounted with round-cut treated rubies weighing approximately 0.41 carats in total and round brilliant-cut and baguette-cut diamonds weighing approximately 0.44 carats in total. size 6-1/2, total weight 3.20 grams

$1,400-$1,800 436 Pair of Diamond, Ruby and Emerald Earrings 18k yellow gold, the clip-back earrings mounted with round brilliant-cut diamonds weighing approximately 1.24 carats in total, accented by round-cut treated rubies and emeralds weighing approximately 0.80 carats in total. l. 7/8”, total weight 15.6 grams

$1,000-$1,500 $1,200-$1,800

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437 Diamond Necklace and Bracelet gold vermeil, the necklace and bracelet mounted with slicecut and rose-cut diamonds weighing approximately 18.10 carats in total. necklace l. 18”, bracelet inside circumference 7-1/4”, total weight 132.8 grams $1,400-$1,800 438 Diamond Ring 18k yellow gold, the domed ring mounted with round brilliant-cut diamonds weighing approximately 2.16 carats in total, and with raised gold accents, stamped “MADE IN FRANCE specially for NEIMAN MARCUS”. size 6-3/4, total weight 15.4 grams

439 Pair of Diamond Hoop Earrings 14k yellow gold, the pierced inside-outside earrings designed with clovers mounted with round brilliant-cut diamonds weighing approximately 0.47 carats in total. l. 1-1/8”, total weight 6.3 grams $1,000-$1,500 440 Diamond Ring 14k yellow gold, the ring mounted with round brilliant-cut diamonds weighing approximately 0.98 carats in total. size 6, w. 3/8”, total weight 4.5 grams $1,000-$1,500

Provenance: Estate of Carol A. Straus, Houston, Texas. $1,400-$1,800

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443 444

441 Diamond Tennis Necklace

443 Diamond Ring

14k yellow gold, the necklace mounted with round brilliantcut diamonds weighing approximately 5.30 carats in total. l.

16”, total weight 17.0 grams

14k yellow gold, the wide ring mounted with round brilliantcut diamonds weighing approximately 1.55 carats in total. size 6-1/4”, w. 5/8”, total weight 5.4 grams

$3,000-$5,000

$1,200-$1,800

442 Pair of Diamond Dangle Earrings

444 Pair of Diamond Earrings

18k yellow gold, the post-back pierced earrings mounted with round brilliant-cut diamonds weighing approximately 2.80 carats in total. l. 2”, total weight 4.3 grams

14k yellow gold, the earrings with two chains accented with round brilliant-cut diamonds, suspended from pierced hoop tops accented with round brilliant-cut diamonds, with an approximate total diamond weight of 0.56 carats. l. 1-3/4”, total weight 2.8 grams

$1,500-$2,500

$1,000-$1,500

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445 Italian Gold “Wing” Ear Clips

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447 Victorian English “Double Snake” Diamond and Ruby Ring

Provenance: Property From an Important Private Collection.

15k yellow gold, the ring mounted with European-cut diamonds weighing approximately 1.40 carats in total, approximate color I and clarity VS2-SI1, accented on the eyes with round-cut rubies weighing approximately 0.04 carats in total. size 6-1/2, total weight 11.4 grams

$1,800-$2,500

Provenance: Property From an Important Private Collection.

446 Diamond and Onyx Bamboo-Style Bangle Bracelet

$2,500-$4,000

18k yellow gold, ca. 1950, Carlo Barberis, Valenza, the clip-back earrings in the form of wings, stamped “18K Italy” with the Barberis registration mark. l. 1-1/4”, total weight 16.4 grams

14k yellow gold, the hinged bracelet mounted with a rose-cut diamond weighing approximately 1.00 carat, finished with a French gate opening clasp. w. 5/8”, inside circumference 6-3/4”, total weight 30.4 grams

448 Rose Gold Buckle Bracelet 14k rose gold, ca. 1940, the bracelet designed as a working buckle. w. 1”, l. 6-1/4” to 7-1/2”, total weight 77.6 grams

Provenance: Property From an Important Private Collection.

Provenance: Property From an Important Private Collection.

$2,000-$4,000

$1,800-$2,500

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449 Antique French Diamond and Enamel Fleur-de-Lis Brooch 18k gold, ca. 1880, the blue enamel brooch mounted with rose-cut diamonds weighing approximately 2.88 carats in total, with French assay marks. l. 2”, total weight 27.8 grams

451 Victorian Diamond and Pearl Brooch on a Retro Cuff Bracelet

Provenance: Christie’s, New York, New York, October 20, 1999.

14k yellow gold, ca. 1940, the hinged cuff bracelet mounted with round brilliant-cut diamonds weighing approximately 0.99 carats in total, accented with cultured pearls. w. 1-1/2”, inside circumference 6-7/8”, total weight 59.3 grams

$3,500-$5,000

Provenance: Property From an Important Private Collection.

450 Beautiful Antique Victorian Diamond Crescent Brooch

$3,000-$5,000

silver-topped gold, ca. 1865, the brooch mounted with rosecut diamonds weighing approximately 3.64 carats in total. l.

2-3/8”, total weight 15.8 grams Provenance: Property From an Important Private Collection.

452 Victorian Diamond Fleur-de-Lis Stickpin silver-topped gold, the stickpin mounted with mine-cut diamonds weighing approximately 1.30 carats in total and rose-cut diamonds weighing approximately 0.95 carats in total. l. 2-1/4”, total weight 3.7 grams

$1,800-$2,500 Provenance: Property From an Important Private Collection. $1,500-$2,500

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453 455 Antique Edwardian Natural Seed Pearl and Ruby Sautoir 453 Antique Victorian Diamond Pendant silver-topped gold, ca. 1860, the pendant in the form of a bird with an arrow, mounted with rose-cut diamonds weighing approximately 0.73 carats in total, the eyes accented with round-cut rubies weighing approximately 0.02 carats in total. l. 1-5/8”, total weight 16.4 grams Provenance: Property From an Important Private Collection. $1,000-$1,500 454 Pair of Antique Victorian Diamond and Baroque Freshwater Pearl Earrings 18k yellow gold/sterling silver, ca. 1880, the earrings mounted with freshwater baroque pearls measuring approximately 20.0 mm x 13.0 mm, accented with European-cut diamonds weighing approximately 0.40 carats in total and rose-cut diamonds weighing approximately 1.72 carats in total. l. 1-1/2”, total weight 15.3 grams Provenance: Estate of The Honorable Shirley W. Kram. $2,000-$4,000

platinum/18k rose gold, the sautoir composed of multiple strands of 1.50 mm natural seed pearls, f inished with tassels accented with platinum tops separated by rose gold rings mounted with round-cut rubies weighing approximately 0.44 carats in total. l. 26”, total weight 51.3 grams Provenance: Property From an Important Private Collection. $3,000-$5,000 456 Marcus & Co. Edwardian Diamond Crescent Brooch platinum/18k yellow gold, the brooch mounted with old European-cut and old single-cut diamonds weighing approximately 2.50 carats in total, signed “M & Co”. l. 2-5/8”, total weight 7.5 grams Provenance: Property From an Important Private Collection. $3,000-$5,000 457 Antique American Art Deco “Inverted Butterfly” Diamond Brooch platinum, ca. 1920, S. Kind & Sons, Philadelphia, Pennsylvania, the Art Deco brooch in the form of an inverted butterfly, mounted with single-, round brilliant- and baguette-cut diamonds weighing approximately 1.31 carats in total, marked on the pin. l. 1-1/2”, total weight 5.8 grams Provenance: Property From an Important Private Collection. $2,000-$4,000

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459 Harry Winston Diamond “Sunflower” Bracelet

458

458 Harry Winston Lady’s Diamond Watch 18k white gold, the watch mounted with round brilliant-cut diamonds weighing approximately 1.26 carats in total, the back stamped “Harry Winston, 120LQ18W 004910 144, Swiss Made” and “750”, the watch with a deployant clasp, together with extra links, a pink and black Harry Winston band and a Harry Winston box. inside circumference 5-3/4”, total weight 57.4 grams $6,000-$9,000

platinum, the signature bracelet mounted with round brilliant-cut diamonds weighing approximately 8.00 carats in total, stamped “HW” and “PT950”. l. 6-1/8”, total weight 24.7 grams $15,000-$25,000 460 Harry Winston Diamond Stud Earrings platinum/18k white gold, one mounted with a round brilliantcut diamond weighing 1.31 carats, color E and clarity VVS2, GIA report #8726201, and the other mounted with a round brilliant-cut diamond weighing 1.29 carats, color F and clarity VS1, GIA report #8702335, stamped “WINSTON” and “PT950”. total weight 3.1 grams $15,000-$25,000

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461 Pair of Diamond Earrings

464 Diamond Bangle Bracelet

14k white gold, the post-back pierced earrings mounted with round brilliant-cut diamonds weighing approximately 0.95 carats in total. l. 3/8”, total weight 4.0 grams

14k white gold, the hinged bracelet mounted with round brilliant-cut and baguette-cut diamonds weighing approximately 4.30 carats in total. inside circumference 6-1/2”, total weight 14.0 grams

$1,500-$2,500 $3,000-$5,000 462 Diamond Bracelet 10k white gold, the bracelet mounted with round brilliantcut diamonds weighing approximately 10.05 carats in total. l.

7-1/4”, total weight 17.5 grams

465 Diamond Ring 18k white gold, the ring mounted with round brilliant-cut diamonds weighing approximately 0.90 carats in total. size 7-1/4, total weight 5.2 grams

$5,000-$8,000 $1,000-$1,500 463 Diamond Ring

466 Pair of Diamond Earrings

18k white gold, the ring mounted with a princess-cut diamond weighing approximately 1.50 carats, approximate color H-I and clarity SI1, accented by round brilliant-cut diamonds weighing approximately 0.81 carats in total. size 5-3/4, total weight 5.7 grams

18k white gold, the post-back pierced earrings mounted with round brilliant-cut, rose-cut and briolette-cut diamonds weighing approximately 1.90 carats in total. l. 1-3/4”, total weight 8.1 grams

$2,500-$4,000

$2,500-$4,000

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467 Beautiful Emerald and Diamond Necklace

469 Beautiful Emerald and Diamond Ring

platinum, the necklace mounted with emerald-cut treated emeralds weighing approximately 13.82 carats in total, accented throughout with round brilliant-cut diamonds weighing approximately 9.88 carats in total. l. 17-1/4”, total weight 55.6 grams

platinum, the ring mounted with a treated emerald-cut emerald weighing approximately 5.35 carats, accented on the double band with round brilliant-cut diamonds weighing approximately 3.20 carats in total. size 5-1/2, total weight 11.7 grams

$18,000-$25,000

$3,000-$5,000

468 Pair of Emerald and Diamond Earrings

470 Pair of Emerald and Diamond Earrings

platinum, the post-back pierced earrings mounted with emerald-cut emeralds weighing approximately 8.83 carats in total, accented by round brilliant-cut diamonds weighing approximately 2.38 carats in total. l. 2-1/8”, total weight 23.4 grams

18k white gold, the post-back pierced earrings mounted with emerald-cut treated emeralds weighing approximately 3.90 carats in total, accented by round brilliant-cut diamonds weighing approximately 0.80 carats in total. l. 1-1/4”, total weight 6.7 grams

$7,000-$10,000

$1,500-$2,500

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475 Pair of Emerald and Diamond Earrings 471 Emerald and Diamond “Buckle” Bracelet 14k yellow gold, the bracelet mounted with oval-cut treated emeralds weighing approximately 29.70 carats in total, accented by round brilliant-cut diamonds weighing approximately 1.03 carats in total. l. 7”, w. 5/8”, total weight 56.2 grams $7,000-$10,000 472 Emerald and Diamond Ring 18k yellow gold, the ring mounted with an oval-cut treated emerald weighing approximately 1.30 carats, accented by round brilliant-cut diamonds weighing approximately 0.90 carats in total. size 7-3/4, total weight 7.3 grams $1,000-$1,500 473 Emerald and Diamond Ring 14k yellow gold, the ring mounted with an emerald-cut treated emerald weighing approximately 9.00 carats, accented by a halo of rose-cut pear-shaped diamonds and round brilliant-cut diamonds, weighing approximately 1.63 carats in total. size 7, total weight 7.4 grams $3,000-$5,000 474 Emerald and Diamond Bracelet 14k yellow gold, the bracelet mounted with square-cut treated emeralds weighing approximately 5.07 carats in total, accented by round brilliant-cut diamonds weighing approximately 1.40 carats in total. l. 7”, total weight 10.7 grams $1,800-$2,500

14k yellow gold, the post-back pierced earrings mounted with emerald-cut treated emeralds weighing approximately 3.50 carats in total, accented by round brilliant-cut diamonds weighing approximately 0.58 carats in total. l. 9/16”, total weight 3.9 grams $1,800-$2,500 476 Emerald and Diamond Ring 18k white gold, the ring mounted with a cabochon-cut treated emerald weighing approximately 8.90 carats, accented by round brilliant-cut diamonds weighing approximately 1.20 carats in total. size 6-1/2, total weight 6.8 grams $2,000-$4,000 477 Diamond and Emerald Ring platinum, the domed ring mounted with a central round brilliant-cut diamond weighing approximately 0.50 carats, approximate color J and clarity SI2, surrounded by a halo of square-cut treated emeralds weighing approximately 0.25 carats in total, and accented by round brilliant-cut diamonds weighing approximately 1.50 carats in total. size 7-1/2, total weight 7.9 grams $1,400-$1,800 478 Emerald and Diamond Ring platinum, the ring with a “Fingermate” adjustable shank, mounted with a round-cut treated emerald weighing approximately 3.60 carats, accented by round brilliant-cut diamonds weighing approximately 1.60 carats in total. size 7-3/4, total weight 8.5 grams Provenance: A River Oaks Estate, Houston, Texas. $2,500-$4,000

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483 Pair of Diamond and Sapphire Earrings 479 Sapphire and Diamond Bracelet 18k white gold, the bracelet mounted with oval-cut treated sapphires weighing approximately 19.80 carats in total, accented by round brilliant-cut diamonds weighing approximately 2.30 carats in total. l. 7-1/4”, total weight 19.5 grams

platinum/14k white gold, the post-back pierced earrings mounted with central round brilliant-cut diamonds weighing approximately 0.40 carats in total, surrounded by a halo of calibrated-cut treated sapphires weighing approximately 0.22 carats in total, surrounded by an outer halo of round brilliant-cut diamonds weighing approximately 0.84 carats in total. dia. 1/2”, total weight 4.2 grams

$3,000-$5,000

$4,500-$7,000

480 Pair of Sapphire and Diamond Earrings

484 Pair of Sapphire and Diamond Earrings

18k white gold, the post-back pierced earrings mounted with oval-cut treated sapphires weighing approximately 4.50 carats in total, accented by round brilliant-cut diamonds weighing approximately 1.05 carats in total. l. 1-3/8”, total weight 8.4 grams

18k white gold, the post-back pierced earrings mounted with oval-cut treated sapphires weighing approximately 1.20 carats in total, accented by round brilliant-cut diamonds weighing approximately 1.01 carats in total. l. 1-3/8”, total weight 4.8 grams

$1,800-$2,500

$1,500-$2,500

481 Sapphire and Diamond Ring

485 Sapphire and Diamond Ring

14k white gold, the ring mounted with an oval-cut treated sapphire weighing approximately 8.20 carats, accented by a double halo of round brilliant-cut diamonds weighing approximately 0.42 carats in total. size 7-1/4, total weight 5.2 grams

18k white gold, the ring mounted with a central oval-cut treated sapphire weighing approximately 1.93 carats, accented by calibrated-cut treated sapphires weighing approximately 0.85 carats in total and round brilliant-cut diamonds weighing approximately 0.40 carats in total. size 6-3/4, total weight 6.5 grams

$1,800-$2,500 482 Sapphire and Diamond Bracelet 18k white gold, the bracelet mounted with oval-cut treated sapphires weighing approximately 3.30 carats in total, accented by round brilliant-cut and baguette-cut diamonds weighing approximately 1.34 carats in total. l. 7”, total weight 11.5 grams $3,000-$5,000

$2,000-$4,000 486 Sapphire and Diamond Ring 14k white gold, the ring mounted with an oval-cut treated sapphire weighing approximately 1.45 carats, surrounded by a halo of round brilliant-cut diamonds weighing approximately 0.72 carats in total. size 7-1/4, total weight 4.5 grams $2,500-$4,000

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487 Beautiful Natural Sapphire and Diamond Ring

489 Multi-Colored Sapphire Necklace

platinum, the ring mounted with a cushion-cut natural sapphire weighing 5.89 carats, GIA report #6235790444, accented by round brilliant-cut diamonds weighing approximately 0.51 carats in total. size 7, total weight 8.9 grams

14k yellow gold, the necklace mounted with square-cut treated sapphires in yellow, blue, pink and orange, weighing approximately 14.40 carats in total. l. 16”, total weight 23.6 grams $2,500-$4,000

$12,000-$18,000 488 Sapphire and Diamond Ring 14k white/yellow gold, the ring mounted with round- and square-cut treated sapphires weighing approximately 0.75 carats in total, accented by round brilliant-cut diamonds weighing approximately 0.23 carats in total. size 7-1/4, total weight 7.8 grams

490 Multi-Colored Sapphire Bracelet 14k yellow gold, the bracelet mounted with square-cut treated sapphires in blue, pink, orange, yellow and green, weighing approximately 6.10 carats in total. l. 7”, total weight 11.8 grams $1,500-$2,500

$1,200-$1,800

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491 Turquoise and Diamond Ring and Earrings

493 Turquoise and Diamond Bangle Bracelet

14k yellow gold, the ring and French-back pierced earrings mounted with a cabochon-cut turquoise weighing approximately 9.20 carats in total, accented by round brilliant-cut diamonds weighing approximately 0.79 carats in total. ring size 5-1/4, earring l. 7/8”, total weight 12.4 grams

18k yellow gold, ca. 1960, the hinged bracelet mounted with round and oval cabochon-cut turquoise weighing approximately 1.30 carats in total, accented by single-cut diamonds weighing approximately 0.10 carats in total. inside circumference 6-1/2”, total weight 26.4 grams

$2,500-$4,000

$1,000-$1,500

492 Turquoise Bangle Bracelet

494 David Webb Turquoise Ear Clips

18k yellow gold, the wide, hinged bracelet mounted with pear-, round-, oval- and marquise-shaped turquoise cabochons weighing approximately 16.75 carats in total. w. 1”, inside circumference 6-1/2”, total weight 39.9 grams

18k yellow gold, the pierced clip-back earrings mounted with oval cabochon-cut turquoises weighing approximately 33.40 carats in total, stamped “18K WEBB” on the back, together with a David Webb black leather pouch. l. 1”, total weight 24.9 grams

Provenance: Estate of Carol A. Straus, Houston, Texas.

Provenance: A River Oaks Estate, Houston, Texas. $1,400-$1,800 $1,400-$1,800

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495 Black Opal and Diamond Pendant on Chain

497 Opal and Diamond Ring

14k yellow gold, the pendant mounted with an oval opal doublet weighing approximately 4.00 carats, surrounded by a border of round brilliant-cut diamonds weighing approximately 0.25 carats in total, on an adjustable gold chain. l. 18” to 20”, total weight 3.9 grams

14k yellow gold, the ring mounted with an oval cabochon-cut opal weighing approximately 5.30 carats, accented by round brilliant-cut diamonds weighing approximately 0.65 carats in total. size 7-1/4, total weight 5.1 grams $1,000-$1,500

$1,000-$1,500 496 Pair of Black Opal and Diamond Earrings

498 Opal, Diamond and Onyx Necklace and Earring Suite

14k yellow gold, the post-back pierced earrings mounted with an oval opal doublet weighing approximately 1.87 carats in total, surrounded by round brilliant-cut diamonds weighing approximately 0.24 carats in total. l. 3/8”, total weight 3.0 grams

sterling silver/14k yellow gold, the sterling silver necklace and the sterling silver earrings with 14k yellow gold post-backs, mounted with cabochon-cut opals weighing approximately 24.04 carats in total, accented by single-cut diamonds weighing approximately 8.21 carats in total. necklace l. 18”, earring l. 1-1/2”, total weight 86.2 grams

$1,000-$1,500

$4,500-$7,000

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499 Indian White Gold, Diamond and Pearl Flower Brooch 14k white gold, the free-form flower brooch mounted with a white pearl center and pearl “petals”, the whole accented with round brilliant-cut diamonds weighing approximately 4.51 carats in total. l. 2-3/4”, total weight 39.6 grams Provenance: Property From an Important Private Collection. $2,000-$4,000 500 Pair of Pearl and Diamond Earrings 18k white gold, the French-back pierced earrings in the form of flowers, the centers mounted with white 11.7 mm pearls with a good luster, accented by round brilliant-cut and baguette-cut diamonds weighing approximately 3.50 carats in total. l. 1”, total weight 18.2 grams $7,000-$10,000 501 Pearl and Diamond Lariat Necklace 18k white gold, the necklace composed of rose champagne pearls with a good luster, measuring approximately 11.5 mm to 14.1 mm, accented with diamond-cut white gold beads and finished with a movable diamond clasp mounted with round brilliant-cut diamonds weighing approximately 0.22 carats in total, the clasp designed to adjust the size of the necklace opening and the drop. l. 15” to 18”, total weight 101.9 grams

502 Tiffany & Co. Pearl and Diamond Necklace and Earrings platinum, the necklace composed of 6.50 mm white pearls with an excellent luster, accented by two flowers mounted with round brilliant-cut diamonds weighing approximately 0.50 carats in total, with the original Tiffany & Co. necklace folder, stamped “Tiffany & Co.”, “PT950” and a “C” inside a circle with “1996”, l. 16”, and the post-back pierced earrings mounted with 7.50 mm white pearls with an excellent luster, accented by round brilliant-cut diamonds weighing approximately 0.18 carats in total, stamped “T & Co.” and “PT950”, with the original Tiffany & Co. box, l. 1/2”. total weight 30.1 grams $2,000-$4,000 503 Tiffany & Co. Elsa Peretti Black Baroque Pearl Ring 18k yellow gold, the ring mounted with a black baroque pearl, stamped “TIFFANY & CO 750” and “PERETTI”. size 5-1/4, total weight 13.6 grams Provenance: Property From an Important Private Collection. $1,400-$1,800

$4,500-$7,000

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504 South Sea Pearl Necklace 14k yellow gold, the necklace composed of graduated white South Sea pearls with a good luster, measuring approximately 12.1 mm to 15.0 mm in diameter, finished with a gold ball clasp mounted with round brilliant-cut diamonds weighing approximately 0.17 carats in total. l. 32”, total weight 180.5 grams $2,000-$4,000 505 Mabe Pearl and Diamond Ear Clips 18k yellow gold, ca. 1950, the clip back earrings mounted with mabe pearls measuring approximately 4.90 mm in diameter, accented by round cultured and stick pearls in the form of flowers, the centers mounted with round brilliant-cut diamonds weighing approximately 0.55 carats in total. l. 1-1/4”, total weight 20.2 grams Provenance: Property From an Important Private Collection. $1,200-$1,800 506 Coin Pearl Necklace 14k yellow gold, the necklace composed of two strands of coin pearls, designed to be worn as a double-strand necklace or twisted into one strand, finished with a 14k gold clasp. shortest l. 20”, longest l. 32”, total weight 129.0 grams Provenance: Property From an Important Private Collection. $900-$1,200 507 Coin Pearl “Flirt” Ring 18k yellow gold, the ring mounted with a cluster of white coin pearls. size 4-1/4, total weight 11.3 grams Provenance: Property From an Important Private Collection. $700-$1,000

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506 508 South Sea Pearl Necklace 14k yellow gold, the necklace composed of slightly graduated white South Sea pearls with a good luster, measuring approximately 13.3 mm to 15.4 mm in diameter, f inished with a gold ball clasp mounted with round brilliant-cut diamonds weighing approximately 0.13 carats in total. l. 18”, total weight 110.6 grams $1,400-$1,800 509 Arthur King Keshi Pearl and Diamond Cross Pendant 18k yellow gold, ca. 1960, the pendant mounted with white keshi pearls with an excellent luster, accented by round brilliant-cut diamonds weighing approximately 1.30 carats in total, stamped “18K” and “KING”. l. 3-1/2”, total weight 32.3 grams Provenance: Property From an Important Private Collection. $2,500-$4,000 510 Double-Strand South Sea Pearl Necklace 18k yellow gold, the necklace composed of graduated white South Sea pearls with a good luster, ranging in size f rom 12.5 mm to 15.8 mm, f inished with a gold clasp. l. 17”, total weight 207.6 grams $1,800-$2,500

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511 Antique Victorian English Heavy Fob Chain/Necklace

513 Antique Victorian Gold “Texas Star” Fob Chain/Necklace

15k yellow gold, ca. 1880, the heavy chain composed of reeded and banded textured curb links. l. 16”, total weight 84.0 grams

15k yellow gold, ca. 1880. l. 18”, total weight 30.5 grams Provenance: Property From an Important Private Collection.

Provenance: Property From an Important Private Collection. $900-$1,200 $3,000-$5,000 512 Victorian Amethyst and Rock Crystal Triple Fob/Pendant 15k yellow gold, ca. 1860-1880, the scrolling frame holding a swivel fob mounted with three intaglio-carved seals, one amethyst with the arms and motto “Virtutem Coronat Honos” [“Honour Crowns Virtue”] of Drummond, another amethyst with the crest of Drummond (a goshawk with wings expanded), and one colorless quartz with an unidentified cathedral. l. 1-3/4”, total weight 24.9 grams

514 Antique Gold Egyptian Revival Pendant/Fob 18k yellow gold, ca. 1880, with hinged plaques decorated with lotus and terminating in a pharaonic masque-mounted seal monogrammed “CSW”. l. 3”, total weight 27.6 grams Provenance: Property From an Important Private Collection. $1,200-$1,800

Provenance: Property From an Important Private Collection. $1,500-$2,500

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515 Antique “Facet-Up” Citrine and Natural Seed Pearl Necklace 18k yellow gold, ca. 1860-1880, the necklace composed of natural seed pearls and graduated “facet-up” citrines measuring approximately 8.5 mm x 6.4 mm to 11.7 mm x 15.3 mm. l. 14”, total weight 37.2 grams Provenance: Property From an Important Private Collection. $1,800-$2,500

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518 Edwardian Gold and Diamond Griff in Brooch/Pendant 18k yellow gold, ca. 1910, the brooch mounted with rose-cut diamonds weighing approximately 0.45 carats in total. l. 1-3/4”, total weight 18.8 grams

520

Provenance: Property From an Important Private Collection. $1,200-$1,800

516 Biedermeier Coral Dangle Earrings

519 Antique Pair of Biedermeier Dangle Earrings

14k yellow gold, ca. 1840. l. 2-3/4”, total weight 9.9 grams

18k yellow gold, ca. 1840. l. 2-3/8”, total weight 9.0 grams

Provenance: Property From an Important Private Collection.

Provenance: Property From an Important Private Collection.

$1,800-$2,500

$1,200-$1,800

517 Antique English Angel Skin Coral Brooch

520 Large Antique Art Nouveau Diamond Locket

10k yellow gold, ca. 1880, the long rectangular coral cameo carved with cavorting putti. l. 2-1/4”, total weight 13.7 grams

14k yellow gold, the locket mounted with European-cut diamonds weighing approximately 0.75 carats in total. l. 2”, total weight 30.4 grams

Provenance: Property From an Important Private Collection. $700-$1,000

Provenance: Property From an Important Private Collection. $2,000-$4,000

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521 521 Gold Chain 14k yellow gold, the necklace composed of a figaro-link chain. l. 36”, total weight 22.5 grams $1,000-$1,500

522 Charm Bracelet the 14k yellow gold chain-link bracelet adorned with a variety of 10k-14k yellow gold charms, including some movable charms, the first example of a stork carrying a baby, a shoe that lifts open to reveal a family, a bird cage with a bird on a moving perch, a rotary phone with a moving dial, a cocktail shaker that opens to reveal a “devil” and a box that opens to reveal a record player. l. 7-1/2”, total weight 52.9 grams Provenance: Estate of Carol A. Straus, Houston, Texas. $1,400-$1,800

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523 Gold Chain 14k yellow gold, the necklace composed of a box-link chain. l. 27”, total weight 29.7 grams $1,000-$1,500

524 Charm Bracelet the 14k yellow gold chain-link bracelet adorned with a variety of 10k-14k yellow gold charms. l. 7”, total weight 47.3 grams Provenance: Estate of Carol A. Straus, Houston, Texas. $1,000-$1,500

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528 Wide Diamond Ring 525 Wide Gold Necklace 18k yellow gold, the wide necklace composed of interlocking, polished chain links. l. 15”, w. 3/4”, total weight 126.0 grams

18k yellow gold, the ridged and domed top mounted in the center with round brilliant-cut diamonds weighing approximately 1.55 carats in total. size 7-1/4, total weight 12.0 grams

Provenance: A River Oaks Estate, Houston, Texas.

$1,800-$2,500

$3,000-$5,000

529 Diamond Bracelet

526 Wide Gold Bracelet 18k yellow gold, the bracelet with a textured and polished finish. l. 7-3/8”, w. 7/8”, total weight 52.4 grams $1,800-$2,500 527 Gold “Snake” Earrings 18k yellow gold, the hooped post-back pierced earrings in the form of cobras with open mouths. l. 1-7/8”, total weight 4.4 grams $1,000-$1,500

14k yellow gold, the hinged bracelet mounted with round brilliant-cut diamonds weighing approximately 1.86 carats in total. inside circumference 6-5/8”, total weight 19.2 grams $1,800-$2,500 530 Four Indian Diamond Bangle Bracelets 18k yellow gold, the bracelets mounted with rose-cut diamonds weighing approximately 0.48 carats in total. inside circumference 8”, total weight 41.8 grams Provenance: Property From an Important Private Collection. $1,800-$2,500

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535 Pair of Diamond Earrings

533

14k yellow gold, the post-back pierced earrings mounted with round brilliant-cut and baguette-cut diamonds weighing approximately 0.57 carats in total. l. 3/8”, total weight 2.2 grams $1,000-$1,500

531 Diamond Ring 18k yellow gold, the teardrop-shaped ring mounted with round brilliant-cut diamonds weighing approximately 2.45 carats in total. size 7-1/4, total weight 9.1 grams $2,000-$4,000 532 Pair of Diamond “Leaf” Earrings 18k yellow gold, the clip-back earrings mounted with round brilliant-cut diamonds weighing approximately 1.39 carats in total. l. 1-1/2”, total weight 12.5 grams $4,500-$7,000 533 Diamond Pendant with Chain platinum/18k yellow gold, the pendant mounted with a round brilliant-cut diamond weighing 1.50 carats, color I and clarity VS2, l. 7/8”, suspended from a 16” platinum snake chain. total weight 15.5 grams $4,000-$7,000 534 Diamond Bracelet

536 Diamond Ring 14k yellow gold, the ring mounted with round brilliant-cut and baguette-cut diamonds weighing approximately 0.32 carats in total. size 6-3/4, total weight 1.8 grams $1,000-$1,500 537 Diamond Necklace 14k yellow gold, the necklace mounted with round brilliantcut diamonds weighing approximately 1.05 carats in total. l.

16” to 18”, total weight 4.6 grams $1,200-$1,800 538 Diamond Bracelet 18k yellow gold, the bracelet mounted with round brilliantcut diamonds weighing approximately 0.53 carats in total. inside circumference 6-3/4”, total weight 6.0 grams $1,000-$1,500 539 Yellow and White Diamond Necklace

14k yellow gold, the bracelet mounted with round brilliantcut diamonds weighing approximately 5.70 carats in total, flanked on either side by a border of gold rope chain. l. 6-1/8”, total weight 26.6 grams

18k white/yellow gold, composed of graduating white round brilliant-cut diamonds weighing approximately 3.52 carats in total, approximate color E-G and clarity SI1, alternating with treated faint yellow round brilliant-cut diamonds weighing approximately 5.84 carats in total, approximate clarity VS2SI2. l. 19”, total weight 23.0 grams

$3,000-$5,000

$4,000-$7,000

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534

532 538

535

536

531

539

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540

541 542

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543

545

544 540 Riviere Diamond Necklace

543 Pair of Diamond Hoop Earrings

18k white gold, the necklace composed of a double row of graduated round brilliant-cut diamonds weighing approximately 6.28 carats in total. l. 16-1/2”, total weight 17.2 grams

14k white gold, the inside/outside earrings mounted with round brilliant-cut diamonds weighing approximately 0.95 carats in total. l. 1-3/8”, total weight 5.8 grams $1,200-$1,800

$6,000-$9,000 541 Diamond Ring 14k white gold, the ring mounted with round brilliant-cut diamonds weighing approximately 1.20 carats in total. size 7-1/2, total weight 6.0 grams

544 Diamond Lariat Tassel Necklace 14k white gold, the tassel necklace mounted with round brilliant-cut diamonds weighing approximately 5.32 carats in total. tassel l. 4”, necklace l. 16”, total weight 18.8 grams $14,000-$18,000

$1,000-$1,500 542 Diamond Bracelet 18k white gold, the bracelet mounted with round brilliant-cut and baguette-cut diamonds weighing approximately 3.63 carats in total. l. 7”, total weight 15.8 grams

545 Pair of Diamond Earrings 18k white gold, the post-back pierced earrings mounted with round brilliant-cut diamonds weighing approximately 1.65 carats in total. l. 1-3/4”, total weight 4.9 grams $4,000-$7,000

$4,500-$7,000

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547

546 Diamond Breast Cancer Awareness Pin 14k white gold, the pin mounted with round brilliant-cut diamonds weighing approximately 0.80 carats in total. l.

1-1/8”, total weight 2.9 grams

552

$1,200-$1,800 547 Pair of Diamond “Door Knocker” Earrings 18k white gold, the post-back pierced earrings mounted with round brilliant-cut diamonds weighing approximately 2.00 carats in total. l. 3/4”, total weight 5.6 grams $4,500-$7,000 548 Diamond Ring 14k white gold, the crossover ring mounted with two round brilliant-cut diamonds on each end, weighing approximately 0.63 carats in total, accented by round brilliant-cut diamonds weighing approximately 0.85 carats in total. size 7, total weight 3.3 grams $1,000-$1,500 549 Diamond Tennis Necklace 14k white gold, the necklace mounted with round brilliantcut diamonds weighing approximately 11.4 carats in total. l.

16”, total weight 19.5 grams $6,000-$9,000

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550 Diamond Ring 14k white gold, the ring mounted with round brilliant-cut diamonds weighing approximately 1.00 carat in total. size 7, total weight 5.5 grams $1,000-$1,500 551 Pair of Diamond Stud Earrings 14k white gold, the post-back pierced earrings each mounted with a round brilliant-cut diamond, each weighing 0.60 carats, color G and clarity VS2, GIA report #3225057724 and #3225057939. total weight 1.3 grams $2,000-$4,000 552 Corum Trapeze Watch with a black face and stainless steel case and a black leather band, the back of the case stamped ‘Water Resistant, Corum Boutique, 105.404.20 832488, Swiss Made”. l. 6” to 7-1/2”, total weight 28.5 grams $1,000-$1,500

550

549

548

551

546

219

554

553

556 555

220

553 Diamond “Turtle” Ring

555 Antique Diamond and Enamel Fleur-de-Lis Cufflinks

18k yellow gold, the bold ring in the form of a turtle, the shell mounted with single-cut diamonds weighing approximately 0.80 carats in total, and the eyes accented with round-cut red spinels weighing approximately 0.01 carats in total. size 11, top of ring 1-3/4” x 1-1/8”, total weight 26.6 grams

platinum/14k white gold, ca. 1930-1940, the cufflinks mounted with round brilliant-cut diamonds weighing approximately 0.20 carats in total, accented with blue enamel and fleurs-de-lis. l. 1/2”, total weight 9.1 grams

$1,400-$1,800

Provenance: Property From an Important Private Collection.

554 Custom-Made Tiffany & Co. Favrile Glass and Gold Scarab Cufflinks

$900-$1,200

14k yellow gold, the custom-made scarab cufflinks composed of Tiffany & Co. Favrile glass scarabs on one side, ca. 1900, and gold scarabs on the other side. l. 3/4”, total weight 22.1 grams

556 Gentleman’s Rolex Oyster Perpetual Wristwatch

Provenance: Property From an Important Private Collection.

stainless steel, the automatic wristwatch with a 34.0 mm case, a white dial, and a Rolex Oyster band with a deployant clasp, model #R15200, serial #K803697. inside circumference 7”, total weight 89.6 grams

$2,500-$4,000

$1,800-$2,500

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557 Two Pieces of Mourning Jewelry third quarter 19th century, 10k yellow gold, including a large oval knot brooch with open locket front and back, the front fitted with a photograph, the back with hairwork, inscribed on the reverse “M.J.S. 8th Aug.t 1856”, w. 2-3/4”, and a teardrop knot brooch/pendant with open locket front with cut hairwork, l. 2”. brooch l.

2-3/4”, pendant l. 2” Provenance: Estate of Dr. Kenneth McLeod, Jr., New Orleans, Louisiana. $1,000-$1,500 This lot is accompanied by a family portrait photograph, ca. 1880, by Adamson & Son, Rothesay, New Brunswick, Canada wherein the seated matriarch is wearing the first brooch.

557

558 Collection of Vintage Turquoise and Pearl Jewelry 14k yellow gold, the collection including a bucklestyle brooch/pendant mounted with turquoise cabochons, inscribed “CC to JMC June 7, 1903”, l.

1-3/4”, three buckle-style lingerie pins mounted with turquoise cabochons, each monogrammed “JMC”, l. 3/4”, and a scarf clip mounted with turquoise cabochons and seed pearls, l. 1”, with an approximate total turquoise weight of 1.09 carats in total. total weight 18.8 grams Provenance: Estate of Dr. Kenneth McLeod, Jr., New Orleans, Louisiana. $1,000-$1,500

558

222

559 Collection of Ladies’ Jewelry fourth quarter 19th through first quarter 20th century, including: a coral bead necklace on a gold filled chain and clasp, l. 23-1/2”; a 14k yellow gold coral cameo brooch and earring suite with foliate gold frame and neoclassical portrait cameo, brooch, l.

1-1/2”, earrings, l. 1-1/4”; a 10k yellow gold coral “button” and diamond stickpin with a coral cabochon, 12.1 mm, above a collet-set mine-cut diamond, approximately 0.20 carats, l. 2-5/8”; a 10k yellow gold and pearl cannetille-style suite with brooch/ pendant, dia. 2”, stud earrings, dia. 3/4”, and ring, size 5-1/2; a 14k yellow gold and coral bead necklace with teardrop pendant, l. 18”; and a 14K yellow gold sacred heart medal, inscribed “Isabelle Fourguette / 25 Jun 1902”. total weight 126.9 grams

559

Provenance: Isabelle Fourguette (Mrs. Gallier J.) Capdevielle (1883-1968), by descent in the family; Estate of Dr. Kenneth McLeod, Jr., New Orleans, Louisiana. $1,000-$1,500 A photograph of Mrs. Capdevielle wearing the gold and coral bead necklace accompanies this lot.

223

560

560 Collection of Vintage Men’s Jewelry f irst quarter 20th century, including: a pair of platinum-topped 14k yellow gold double-sided cufflinks, w. 1/2”; three 10k yellow gold shirt studs with safety chain, each dia.

1/4”, chain l. 5-1/4”; a 14k yellow gold alliance ring, no inscription, size 6-1/2; a 14k yellow gold safety pin, l. 1-7/8”; and a 10k yellow gold stickpin, l. 3”, with a teardrop-shaped pearl and mine-cut diamond weighing approximately 0.10 carats. total weight 12.8 grams Provenance: Gallier James Capdevielle (1883-1943), by descent in the family; Estate of Kenneth McLeod, Jr., New Orleans, Louisiana. $1,000-$1,500 Gallier James Capdevielle

224

561 Gallier J. Capdevielle (1883-1943) Memorabilia late 19th/early 20th century, including: a Gorham Sterling Silver “Jack and Jill” Youth Fork and Spoon, engraved “Gallier 1885”, l. 6-1/4”, 1.95 total t. oz.; a lithographed tin sweetmeat box “Premier Glace Fruits, Francis H. Leggett & Co., New York”, 1-1/4” x 5-1/2” x 3”; a pair of silvered metal spectacles, oval lenses and straight earpieces, w. 4-1/4”, l. 5-1/4”; a print metal and wood halftone printing block with an image of Gallier J. Capdevielle; two ebonized wood and gold plate-capped swagger sticks (one broken), monogrammed “GC”, l. 17”, and “GJC”, l. 34”; a silverplate molded rectangular nameplate “Gallier”, 7” x 3-1/8”; a small black-painted metal strongbox, 4” x 10-1/2” x 4-1/4”; and a large brass-banded and black-painted metal strongbox, the front with gilt-painted name “Gallier J. Capdevielle”, 11” x 20” x 13-5/8”.

Provenance: Estate of Dr. Joseph McLeod, Jr., New Orleans, Louisiana.

561

$1,000-$1,500

562 Collection of Surveying and Other Equipment including: a second quarter 19th century William Elliott, London, brass surveyor’s compass, with cover, staff mount and four plumb bobs, all presented in a mahogany case, compass l. 13”, w.

6-1/4”, case 3-1/2” x 13-3/4” x 7-1/2”; a second quarter 19th century brass and mahogany tripod, en suite with the compass above, l. 56” assembled, presented in a stained pine fitted case, 6” x 5” x 30-1/4”; a fourth quarter 19th century oxidized brass surveyor’s level, the scope lacking but with leveling staff mount, presented in a fitted mahogany case, level, l. 7-3/4”, case 4-3/4” x 16-1/4” x 4-1/2”; a rosewood collapsible campaign music stand, extending to l. 9”, opening to 9-1/2” x 18” (broken, with some elements missing); a wood spirit level, l. 16”; and an unidentified pair of brass and ebonized wood adjustable angles, l. 18-1/4” and 22-1/4”.

Provenance: Estate of Dr. Kenneth McLeod, Jr., New Orleans, Louisiana. $1,200-$1,800

562

225

563 Joseph Rusling Meeker (American, 1827-1887) “Fishing on Scajaquada Creek [Erie County, New York]”, 1851 oil on canvas signed.

Framed.

24” x 19”, framed 34” x 28” Provenance: The Chicago Art Auction, December 9, 2007, lot 233. $10,000-$15,000

564 Circle of Michel Jean Cazabon (Trinidadian, 1813-1888) “Caribbean Bay View with Palm Trees and a Flower Peddler Astride a Donkey in the Distance” oil on canvas unsigned.

Framed.

22” x 36”, framed 30-1/4” x 44”

563

$1,000-$1,500

564

226

565 Jean Joseph Vaudechamp (French, 1790-1866; Active New Orleans 1831-1839) “Portrait of a Young Woman, Partially Draped” oil on canvas signed and dated “Vaudechamp 1844”.

Framed.

36-3/4” x 29”, framed 45” x 38” $20,000-$40,000 This portrayal of a partially nude woman with her self-assured gaze is a rare glimpse into Jean Joseph Vaudechamp’s later career, painted two years before his only other known nude, “Portrait of a Young Girl, Partially Clothed”. Both paintings reveal Vaudechamp’s masterful modeling of the human form, his elegant composition, and use of soft light dappling the sitter’s body. A French, academically trained artist and a pupil of the famous Anne-Louis Girodet-Trioson, Vaudechamp became the most sought-after portraitist in New Orleans during the 1830s, where he spent his winters painting members of the prominent Creole families. His success in New Orleans appears to have provided him with financial security, and although he continued to exhibit at the Salon, this brought him little critical acclaim. The two nudes are a departure from his usual subject matter; suggesting that perhaps he was experimenting with different genres in his later years. This evocative portrait is the first nude by the artist to have been offered for sale outside of Paris. Reference: William Kayse Rudolph, Vaudechamp in New Orleans, The Historic New Orleans Collection, 2007.

565

566 British School (Second/Third Quarter 19th Century) “Minna from Walter Scott’s Pirates and Another Maiden, Probably Her Sister Brenda” pair of oils on tin each unsigned and with a period label en verso inscribed in French; the first identifies Minna and the second describes a setting “le soir a la foret”.

Framed alike. each 16-5/8” x 13-1/2”, framed 23-1/2” x 20” $1,000-$1,500

566

227

569

567 New Orleans Market Rosewood Full-Tester Bed third quarter 19th century, the cove-molded tester frame with pleated sunburst upholstery, and supported by cluster-column posts, the paneled headboard with a shell-, foliate- and cabochon-carved crest, the rails with applied moldings and scroll brackets. h. 110-1/2”, inside w. 60-1/8”, l. 77-1/2”, outside w. 75-1/2”, l.

87” Provenance: A River Oaks Estate, Houston, Texas. $2,000-$4,000

567

568 American Federal Flame Mahogany Sideboard ca. 1800, of demi-lune form, the top with a satinwoodbanded edge, the case fitted with a long drawer above a pair of cabinets and flanked by a conforming curved door to each side, raised on tall, tapering square legs. h. 40-1/2”, w. 70”, d. 24-1/2” $1,000-$1,500

569 Pair of Empire Mahogany Curule-Form Stools 19th century, each with a padded cushion inset into a molded frame, the curule legs joined by a turned stretcher. h. 17”, w. 15”, d. 14” $800-$1,200

568

228

570 Pair of American Late Classical Revival Mahogany Sleigh Beds circa 1900, each twin bed with a carved and stained oak corona and draperies, the paneled scroll headboard and footboard of the same size. bed h. 36”, inside w. 40”, l. 76-3/4”, outside w.

43-1/2”, l. 85”, overall h. 115” $1,000-$1,500

570

571 American Federal Polychromed Pine Fireplace Surround early 19th century, the molded overhanging shelf above a carved and reeded f rieze, the side supports in the form of flat reeded pilasters. h. 61-1/2”, w. 80”, d. 7-1/2”, inside h. 43”, w. 55” $1,000-$1,500

571

229

572 Pair of Neoclassical-Style Bronze Urns on Pedestals 20th century, the urns decorated with bas-relief scenes in the neoclassical taste, mounted with caryatid handles terminating in monopodia bases, the pedestals molded, paneled and decorated with vases of flowers and beaded trim. h. 75-1/2”, w. 20-3/4”, d. 20-3/4” $3,000-$5,000

573 Pair of Victorian-Style Cast Iron Garden Benches in the “Gothic Arch and Rose” pattern, each with a floral-andscroll crest rail over joined arches, the seat in pierced foliate and scroll decor, on cabriole legs, the elements joined with threaded bolts. h. 34”, w. 60”, d. 17-1/4” $1,800-$2,500 Garden furniture in this pattern graced the Rose Garden, White House, until a recent redecorating.

572

573

230

575

574 Cast Bronze Two-Tier Fountain in the Neoclassical Taste 20th century, the lobed main bowl supported by a standard molded with aquatic plants and three putti, the upper tier supported by a standing putto clad in aquatic plants. h. 106”, dia. 42-1/4” Provenance: The Anne Rice/Nicolas Cage Garden District Mansion, New Orleans, Louisiana. $2,500-$4,000

575 Victorian Cast Iron Garden Bench 20th century, in the Gothic taste, the back with the registration mark for Carron Company, Falkirk, Scotland, executed in the “Arch and Rose” pattern, the crest rail with molded flora and scrolls over a back of joined arches, the seat pierced with scrolling arabesques, with distincitive shaped cylindrical rear leg and bolt-together construction. The Carron Company introduced this pattern in March, 1846,. American founderies were making their version of the pattern as early as 1848. The latter generally have canted cabriole legs front and rear. h. 37”, w. 61-3/4”, d. 17-1/2”

574

$1,000-$1,500

576 Pair of Cast Iron Garden Armchairs early 20th century, in the neoclassical taste, each with a back with crossed arrows over a figure of Diana the Huntress with her dog, open arms, latticework seat and splayed legs. h. 34-1/4” $1,200-$1,800

576

231

577 Cast Stone Garden Figure of a Seated Shepherd 1981, illegibly signed, dated, copyright-marked and numbered “294” along proper left back edge, the canine modeled standing over a discarded bouquet of flowers. h. 34-1/2”, w. 25-3/4”, d. 25-3/4” $1,000-$1,500

577

578 Pair of Neoclassical-Style Cast Iron Garden Urns each of campana form with an egg-and-dartmolded rim, the vessel with a ribbed lower section, on a plinth base. h. 29-1/2”, dia. 22”

578

$1,000-$1,500

579 Pair of Neoclassical-Style Zinc Garden Planters each of box form, with pineapple f inials at each corner, the sides centered by a wreath, on bun feet. h. 22-3/4”, w. 16”, d. 16” $1,000-$1,500

579

232

581

580

580 Pair of Cast Iron and Copper Street Lights

581 Monumental Cast Iron Five-Tier Fountain

fourth quarter 19th century, the cast iron standards with foliate vines wrapping around the upper section, the base with a crown above an armorial-style plaque and foliate wreath, the copper lantern now converted to electricity. h. 133”, dia. 16”

in the neoclassical taste, the standard decorated with molded egrets and flowers, above a hexagonal plinth, the graduated and lobed pans with egg-and-dart trim, on vasiform supports. h. 114”, dia. 45”

$1,500-$2,500

$1,500-$2,500

233

582 582 Two Late Classical Games Tables second quarter 19th century, one example a Regency table in rosewood with inlaid brass stringing and die-cut brass inlay, the interior of the fold-over top with a baize lining, on a lotusand palmette-carved pedestal on a concave platform base with paw feet, h. 28-3/4”, w. 36”, d. 17-7/8”, extended d. 35-3/4”, and the other example Philadelphia, PA, with a crossbanded mahogany fold-over top, over a stenciled frieze, columnar pedestal and concave base edged with gilt trim and scroll feet, h. 30”, w. 35-1/2”, d. 17-1/2”, extended d. 35”. $1,000-$1,500 583 James E. Buttersworth (British/New Jersey, 1817-1894) “Racing Yachts in New York Harbor” oil on millboard unsigned.

Framed.

8” x 12”, framed 12-1/2” x 16-1/2”

583

Provenance: Obtained from the Buttersworth family in New Jersey by present owner’s grandfather; thence by descent. $30,000-$50,000 584 James E. Buttersworth (British/New Jersey, 1817-1894) “Yacht Race” oil on millboard signed lower right.

Framed.

12-1/4” x 18-1/2”, framed 16-1/4” x 22-3/4” Provenance: Obtained from the Buttersworth family in New Jersey by present owner’s grandfather; thence by descent. $20,000-$40,000

584

234

585

586 585 American Classical Mahogany Drop-Leaf Table ca. 1825, New York, the single-board top flanked by a pair of shaped drop leaves, the frieze fitted with a drawer, raised on a foliate-carved vasiform pedestal on legs with scroll and leaf carving, resting on carved paw feet with casters. h. 29-1/4”, w. 40”, l. 25”, ext. l. 52-3/4” $1,000-$1,500

586 American Mahogany Reverse Serpentine SlantFront Desk late 18th century, probably Boston, in the Chippendale taste, the fall front opening to reveal an interior with drawers, niches and a lineinlaid central door, over an oxbow case with four graduated drawers, raised on ball-and-claw feet. h. 43-1/2”, w. 48-1/2”, d. 22” $1,000-$1,500

587 American Late Classical Revival Mahogany Four-Post Bed fourth quarter 19th century, the posts finely carved with acanthus-leaf details and ending in large paw feet, the headboard with a large carved flower basket. h. 89”, inside w. 54-3/4”, l. 78”, outside w. 62”, l. 84” $2,500-$4,000

587

235

588 Patinated Bronze Gasolier in the Neoclassical Taste mid-19th century, probably Henry Hooper, Boston, or English, the standard set with graduated lozenge-form, leafmolded prism rings with cut prisms, the arms with molded cornucopia-form terminals, and with matching circular prism rings at each burner, electrified. h. 35”, w. 37”, d. 35” $2,000-$4,000

588 589 American School (19th Century) “Portrait of a Young Child Seated on a Red Velvet Cushion with a Horse-and-Rider Pull Toy”, 1855

589

oil on canvas initialed “ES” and dated 1855 lower left.

In an elaborate oval-aperture gesso and giltwood f rame.

36” x 29”, f ramed 49” x 42” $2,500-$4,000

590 Attributed to Asher Brown Durand (American, 1796-1886) “Pastoral Landscape with Cattle and Prayer Service”, ca. 18401842 oil on canvas unsigned.

Framed.

29” x 34”, f ramed 38” x 42” Provenance: Private collection, Florida; Alexander Galleries, New York; Eldred’s, East Dennis, Massachusetts, July 31, 2013, lot 1046; Private collection, Georgia. $5,000-$8,000

590

236

591 American School (19th Century) “Portrait of a Young Child by an Open Window” oil on canvas unsigned, old inventory labels and stencils en verso.

In an antique frame.

17-1/4” x 14”, framed 22-1/2” x 19-1/4” $1,000-$1,500

592 Fine American Rococo Revival Carved Rosewood EightPiece Parlor Suite mid-19th century, New York, possibly from the cabinet shop of Henry Iden, consisting of a settee, h. 41-3/4”, w. 68-1/2”, an armchair, h. 45”, and six side chairs, h. 40-1/4”, each with deeply carved floral crests centered by a cabochon, flanked by gadrooning, serpentine seat rails and cabriole legs, now upholstered in tufted ecru brocade.

Provenance: By tradition, part of the original furnishings f rom Nottoway Plantation, White Castle, Louisiana, descended from the heirs of John Randolph to the current owner.

591

$2,000-$4,000

592

237

593 American Rococo Revival Rosewood Drop-Front Secretary third quarter 19th century, attributed to Alexander Roux, New York, with an open shelf above a pair of mirrored cabinet doors, the dropfront writing surface opening to a fitted interior, raised on cabriole legs with grape-carved knees. h. 79”, w. 34”, d. 20” $1,200-$1,800 594 American Rococo Revival Brass and Metal Gasolier Hall Light mid-19th century, the single-light fixture with figures of satyrs sitting on pierced grapevines, with rod-form, rope-twist brass supports leading to the grape-molded canopy, set with an etched glass shade. h. 35”, dia. 11-1/2” Provenance: The Claiborne-Humphreys Mansion, Esplanade Avenue, New Orleans, Louisiana. $1,000-$1,500 595 American Rococo Revival Laminated Rosewood Settee third quarter 19th century, attributed to J. & J. W. Meeks, New York, in the “Hawkins” pattern, with an open carved crest centered by a floral-carved crest flanked by grapes and arabesques, closed arms, serpentine seat and cabriole legs. h. 47-1/2”, w. 64”, d. 30” $1,200-$1,800

593

594

238

595

596 Rare American Rococo Revival Patinated Metal and Brass Gasolier mid-19th century, attributed to Cornelius, Philadelphia, based on the gas keys, the three-light gasolier with a scroll-molded body supported on a rope-twist rod decorated with flying angels and palm fronds, retaining part of its original pulley system for raising and lowering, the pierced gas arms decorated with grape leaves terminating in shade holders. h. 53-3/4”, dia. 30” Provenance: The Claiborne-Humphreys Mansion, Esplanade Avenue, New Orleans, Louisiana. $1,200-$1,800

596

597 Rare American Rococo Revival Patinated Bronze, Brass Spelter Four-Arm Gasolier mid-19th century, attirbuted to Cornelius, Philadelphia, the bowl with two layers of leaves and four large daisies, the foliate-molded arms retaining their gas keys and period cast small shade fitters with additional 4” fitters added above those, the stem with foliate modeling and a trio of putti beneath avian mounts, the upper section of the stem retaining the pulleys and pendant-form counterweight shells, now fitted with later antique etched and frosted blown-glass “crown-top” shades. h. 63”, dia. 42”

597

Provenance: The Claiborne-Humphreys Mansion, Esplanade Avenue, New Orleans, Louisiana. $4,000-$7,000

598 Rare American Rococo Revival Patinated Bronze, Brass and Spelter Four-Arm Gasolier mid-19th century, attributed to Cornelius, Philadelphia, the bowl with two layers of leaves and four large daisies, the foliate-molded arms retaining their gas keys and period cast small shade fitters with additional 4” fitters added above those, the stem with foliate modeling and putti beneath avian mounts, the upper section of the stem retaining the pulleys and pendant-form counterweight shells, now fitted with later etched and frosted ball shades. h. 63”, dia. 42” Provenance: The Claiborne-Humphreys Mansion, Esplanade Avenue, New Orleans, Louisiana. $4,000-$7,000

598

239

599 Pair of Black Forest Carved Walnut “Nature Morte” Plaques fourth quarter 19th century, carved with mountain goats, hunting horns and rifles, the scrolled backplates with “rustic” twig edges, oak leaves and acorns. h. 49-1/2”, w. 28” Provenance: The Claiborne-Humphreys Mansion, Esplanade Avenue, New Orleans, Louisiana. $1,500-$2,500

599

600 French Carved Walnut Barometer with “Nature Morte” Decoration

600

fourth quarter 19th century, the circular barometer dial flanked with carvings of a hare on one side and a wolf on the other, against a ground of carved, pierced oak leaves and acorns, a carved deer head serving as the finial, with a hunting dog on the bottom, each with glass eyes. h. 33”, w. 17-1/4” Provenance: The Claiborne-Humphreys Mansion, Esplanade Avenue, New Orleans, Louisiana. $1,000-$1,500

601 Exceptional Carved Walnut Cuckoo Clock with Nature Morte Carving fourth quarter 19th century, the chapter ring set with enamel numerals, flanked with a hare and a grouse, f ramed by a carved hunting horn, a stag with glass eyes and crossed rifles forming the crest, a clutch of game birds at the bottom, the edges decorated with carved, pierced oak leaves and acorns. h. 48”, w. 30-1/2”, d. 20-1/2” Provenance: The Claiborne-Humphreys Mansion, Esplanade Avenue, New Orleans, Louisiana. $2,000-$4,000

601

240

602 Leon de Meutter Brunin (Belgian, 1861-1949) “The Letter” oil on canvas signed upper left.

Framed.

23-5/8” x 20”, framed 35-1/2” x 31-1/2” Provenance: Bernaerts Auctioneers, Antwerp, Belgium, December 3, 2014, lot 703. $1,200-$1,800

602

603 Johann Holmstedt (Swedish, 1851-1929) “Fjord Landscape” oil on canvas signed lower left.

Framed.

29” x 41”, f ramed 40-1/2” x 51” $3,000-$5,000

603

604 Johann Friedrich Stock (German, ?-1866) “Hiking in the Alps”, 1853 oil on canvas signed, dated and inscribed “Berlin” mid-left.

Framed.

39” x 50”, f ramed 49” x 60” $1,000-$1,500

604

241

605

605 Black Forest Marquetry-Inlaid Walnut Table and Chair second half 19th century, the table with a shaped top inlaid with panels depicting game, the large central panel with a cabin scene amid vine, floral and scroll inlay, raised on a carved pedestal joined to scroll- and leaf-carved legs, h. 30”, w. 53-1/2”, d. 40-3/4”, the chair with a naturalistically modeled and pierced back centered by an inlaid panel, cane seat and cabriole legs, h. 36-1/2”.

Provenance: The Claiborne-Humphreys Mansion, Esplanade Avenue, New Orleans, Louisiana.

605 detail

$1,000-$1,500

606 Twelve-Light “Horn” Chandelier in the Black Forest Taste 20th century, the body of intertwined horns set with lights on two tiers, each socket concealed in hornmolded covers. h. 36”, dia. 56” $1,200-$1,800

606

242

607 After William Holbrook Beard (American, 1824-1900) “March of Silenus” oil on canvas larger variant after the ca. 1862 painting now conserved at the Albright-Knox Art Gallery, Buffalo, New York.

Unframed.

78-1/4” x 59-3/4” $1,500-$2,500

608 American Patinated Metal and Brass Gasolier third quarter 19th century, the six-light gasolier in the Renaissance Revival taste, the molded standard with anthemia-decorated scrollwork and a brass finial, the molded and scrolled arms with large brass gas keys, set with molded ruffled glass shades. h. 50”, dia. 34-1/4” $1,200-$1,800

609 American Renaissance Revival Ebonized Pedestal ca. 1875, the top with a molded edge and curved ends, on a fluted column joined to carved corners. h. 37”, w. 22”, d. 16”

607

$1,000-$1,500

609

608

243

610 Four-Piece Italian Neo-Renaissance Fruitwood Bed Set fourth quarter 19th century, consisting of a pair of twin beds, h. 65”, inside w. 36”, l. 72”, outside w. 42”, l. 84”, a three-drawer dresser with mirror, h. 86”, w. 53”, d. 22”, and a painted dressing table, h. 35”, w. 39”, d. 19”, all profusely carved with winged putti, scrolls and flower-basket finials.

Provenance: According to family tradition, this suite was acquired from the collection of Damon Runyon, 18801946. $2,000-$4,000

610

610

244

611 William Merritt Post (American, 1856-1935) “Sunset Over Autumn Landscape” oil on board signed lower left.

Framed.

25” x 31”, framed 32” x 37” Provenance: Mr. and Mrs. T. W. Eason, Oklahoma City, Oklahoma; by descent to Ambassador and Mrs. John G. Weinmann, New Orleans, Louisiana; by descent to consignor. $1,500-$2,500

611

612 Anna Mary Richards Brewster (American, 1870-1952) “Forest Glen”, 1903 oil on canvas monogrammed lower left and titled on brass artist plaque.

Framed.

9” x 13”, framed 14” x 18-1/2” $1,000-$1,500

612

613 Colin Campbell Cooper (American, 1856-1937) “Winter Street by Night” oil on canvas board signed lower right.

Framed.

17-3/4” x 21”, f ramed 23-1/4” x 26-1/8” $1,500-$2,500

613

245

614 James Abbott McNeill Whistler (American/British, 1834-1903) “Nocturn in Blue and Gold - Old Battersea Bridge”, ca. 1910-1920 color lithograph on paperboard “Hanfstaengl” blind stamp and copyright mark lower right, titled on “Franz Hanfstaengl, New York” label on frame backing.

16-1/4” x 12-3/4”, framed 17-3/4” x 14” $1,500-$2,500

614

615 Frederick Judd Waugh (American/New Jersey, 1861-1940) “Waves Crashing into Rocky Cove” oil on canvas signed lower right.

Framed.

30” x 36”, framed 39” x 45” Provenance: Estate of Carolyn G. Fay, Houston, Texas. $4,000-$7,000 This painting was displayed prominently in the Houston, Texas office of yachtsman, Ernest Bel Fay.

615

246

616 detail

616

616 Martha Walter (American, 1875-1976)

617 Aesthetic Movement Mahogany Fireplace Surround late 19th/early 20th century, the mantel with a molded edge over a face with an open shelf with a f retwork-carved rear panel and brackets joined to paired columns, flanked by a pair of glazed doors, the frames with like carving and molded mullions, the legs with clustered faux bamboo columns, Corinthian capitals and stepped bases. h. 70-3/4”, w. 63-1/4”, d. 11-3/4”

“Ann on the Sofa” oil on board signed lower left, verso with a sketch of the baby.

Framed.

28-1/4” x 36-3/4”, framed 35” x 43-1/2” Provenance: The artist’s Estate by descent to consignor; Sotheby’s New York, New York, September 30, 2020, lot 116; Private collection, New York.

$1,000-$1,500

$2,000-$4,000

617

247

618 Twelve-Piece Neo-Renaissance Dining Suite labeled American Art Furniture Co NY executed in walnut, mahogany, various burlwoods and figured veneers, and contrasting light and dark wood line stringing, comprised of a banquet table with a pair of 20” outside skirted leaves, h. 30”, w. 41”, l. 78-1/2”, ext. l. 118-1/2”, a long marble-top server/console, h. 38-3/4”, w. 86”, d. 23”, a marble-top cabinet, h. 37-1/2”, w. 53”, d. 24”, a cupboard on integral stand/china cabinet, h. 75-1/2”, w. 44-1/2”, d. 20-1/2”, two armchairs, h. 46-1/2”, and six side chairs, h. 39-1/2”, all elaborately carved, the table with draw ends opening to accommodate the leaves, the conforming case with a central bank of drawers flanked by frieze drawers over doors opening to reveal a bank of drawers, the cupboard on stand with a pair of doors on a base with cabriole legs joined by a carved stretcher, the armchairs with carved crests, all chairs with cabriole front legs and shaped stretchers. $3,000-$5,000

248

618

619 American Aesthetic Movement Shibiyama-Mounted Rosewood Vitrine fourth quarter 19th century, in the Japonesque taste, probably about 1880-1884, New York, in the manner of Herter brothers, Pottier and Stymus or a competitor of equal rank, in two parts, the upper section with a pair of carved Komainu at each end guarding over the contents, perched atop a molded crnice and a frieze mounted with Shibiyama plaques interspersed by crved panels depicting prunus blooms, vines and leaves, over a sliding beveled glass door, opening to expose an interior with an array of shelves, retaining their period silk velvet lining, on a base with a scalloped carved apron, shaped legs on paw feet and resting on a low plinth base, the piece appears to be Brazilian rosewood with oak or ash frame elements, white pine and poplar. h. 77”, w. 44-1/2”, d. 20” $8,000-$12,000 The designer’s decision to employ shibayama plaques is illustrative of the contemporaneous fascination with Japonism and the tendency of the exclusive firms making bespoke “art furniture” for their robber baron clients to employ the finest, most costly materials in their pieces.

An art form first introduced to the West at the Paris World Exposition in 1867, its popularity continued to consolidate after the Meiji Restoration of 1868. Many export works containing shibayama designs are associated with Yokohama, after this port city became a destination for craftsmen of the art. However, the panels we see here are more indicative of the smaller, delicate works crafted during the late Edo/early Meiji period, rather than the larger pieces produced out of Yokohama that were often designed to cater to the tastes of the Western market.

While shibayama panels are occasionally utilized in Japanese furniture, their appearance in Western pieces is exceedingly rare. A number of pieces by the French firm of Gabriel Viardot employ panels that simulate shibiyama.

Those appear to have been made by the firm in their own shop. The Parisian Bronze Foundry of Ferdinand Barbedienne employed Meiji Shibayama work in some of its creations. In the United States, Pottier and Stymus employed plaques of similar size and composition to those in the present piece in a cabinet commissioned by Jabez Bostwick, the Secretary/Treasurer of Standard Oil. That piece sold in this gallery May 31, 2020, lot 1033. Two rosewood easels with shibayama on a wood ground have also sold since the Millennium.

619

620 Pair of French Faience Plaques, Attributed to Barluet et Cie, Creil-Montereau second half 19th century, each signed “Daillard”, each f inely painted with flowering dogwoods and nesting birds, and framed alike, frame backing with handwritten label with additional provenance stating that the plaques were retailed at “Tiffany, New York”, and purchased by “Uncle Alexander Laurence, ca. 1850.” plaque h. 19-5/8”, w. 9-3/4”, overall h. 21-5/8”, w. 12” $1,000-$1,500

620

249

621 Schonbek and Swarovski “New Orleans” Fourteen-Light Chandelier 1970s, the polished silver frame and molded glass standard with Swarovski crystal drops, prisms and swags, set with two tiers of scrolled candle arms terminating in prism rings, with a two-tier corona hung with swags of drops and baroquestyle cut glass prisms, the lower portion with swags of crystals and cut glass drops, electrified. h. 38-1/2”, dia. 32” $1,000-$1,500 622 Late Victorian Neo-Renaissance Carved Oak Sideboard late 19th/early 20th century, the cyma-molded and carved cornice over a pair of doors with embossed metal foliate tracery, over a mirror plate, supported by fluted and barleytwist columns, flanked by foliate-carved panels of fluted columns with Corinthian capitals and masque-carved bases, on a base with an added slate top, bowed center over a conforming drawer with an open shelf below, and flanked by doors with cabochon-carved panels, raised on bracket feet. h. 96-3/4”, w. 91”, d. 29”

621

$1,000-$1,500

622

250

623

623 American Aesthetic Movement Carved Walnut Overmantel Mirror fourth quarter 19th century, the pedimented crest decorated with a carved lotus blossom over a “sun”-carved panel, against carved leaves and berries, the gilt-incised pilasters on each side with Ionic capitals, flanked by a pair of carved and pierced cranes and cattails, set with a beveled mirror plate. h. 88-1/2”, w. 71-1/2” $1,200-$1,800

251

624 624 Large and Impressive Mayer & Co. Leaded Stained Glass Window fourth quarter 19th century, the central theme depicting a winged angel playing a lyre, the border with “jewels” and leaf motifs, labeled in the glass, “Mayer & Co. Munich, New York”. h. 89”, w. 102” Provenance: The Anne Rice/Nicolas Cage Garden District Mansion, New Orleans, Louisiana. $5,000-$8,000

624 detail

252

625

625 Late Victorian Mahogany Sideboard of Neoclassical Inspiration ca. 1900, in two parts, the broken-arch pediment centered by a carved shell, over a rectilinear beveled mirror, flanked by columns, stiles and mirrors, the base with a projecting center with a drawer over a pair of doors flanked by open arches with a low spindle gallery and fluted columns. h. 103-3/4”, w. 85-1/2”, d. 24” $1,000-$1,500

253

628

626 Marcel Hess (Belgian, 1878-1948) “L’Ecolier”, 1912 oil on canvas signed lower right.

Framed.

71” x 47-1/2”, framed 74” x 51” $3,000-$5,000 627 Edwin Markham (American, 1852-1940), The Real American Romance

626

New York: William H. Wise and Company, 1912, complete in 13 volumes, in black half leather on green fabric boards, spines with gilt lettering and design, marbled endpapers. each 9-1/2” x 6-3/4” $1,000-$1,500 628 Iron, Brass and Glass Billiards Chandelier in the Victorian Taste 20th century, the torch-form standard supporting scrolled iron arms decorated with molded brass leaves and set with green-cased glass umbrella-form shades. h. 30-1/2”, w. 53-1/4”, d. 10-1/4”

627

$1,000-$1,500 629 Pair of Leather “Fireside” Lounge Chairs of opposing form with rolled arms and brass tacking, raised on tapering square legs. h. 33”, w. 37”, d. 31” $1,000-$1,500

629

254

630 Mahogany-Veneered Mirror in the Moorish Taste second quarter 19th century, the Moorish-arch paneled tablet supported by pairs of turned pilasters flanking beading, the mirror with an ogee surround. h. 60-1/2”, w. 34-1/2” $1,000-$1,500

630

631 Guy Carleton Wiggins, N.A. (American, 1883-1962) “5th Avenue at Wartime”, 1940-1945 oil on canvas board signed lower left, titled and signed en verso.

Framed.

20” x 16”, f ramed 25-1/4” x 20-1/4” Provenance: Private collection, New York.

Literature: This painting has been examined by Brian Roughton with Roughton Galleries, Dallas, Texas and has been included in the Virtual Catalogue Raisonne of the artist, as number GW001240: http://www.guycwiggins.com/5th-Ave-At-Wartime-. html $30,000-$50,000

631

255

632 detail

632

632 Fine American Neoclassical Sterling Silver Tureen

633 Reed & Barton “Francis I” Sterling Silver Flatware Set

1862, by William Gale & Son, New York, New York, of oval form with waisted collar and fitted domed lid, decorated with milled Greek-key, leaf-and-dart and beaded banding, the palmette-mounted button and tenon handles with pendant neoclassical medallion, the lid finial en suite with applied medallion, the whole raised on a conforming domed foot en suite. h. 14”, l. 17-1/4”, w. 10”; 94.59 t. oz.

the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts, comprising a dozen six-piece place settings (one piece lacking) with four serving pieces and a lemon plate and fork, no monograms.

77 pieces total 93.85 total t. oz.

$3,500-$5,000

Detailed list of pieces available on request.

Provenance: A River Oaks Estate, Houston, Texas.

$2,000-$4,000

633

256

633 detail

634 detail

634 634 Gorham “Strasbourg” Sterling Silver Flatware Set

635 Rare Set of Six Tiffany & Co. “Palm” Sterling Silver Asparagus Tongs

the pattern designed in 1897 by William Christmas Codman (1839-1923), Providence, Rhode Island, comprising eight ten-piece luncheon settings and eight serving pieces, no monograms, presented in a fitted Pacific cloth-lined case with lift-top, 3-3/4” x 16-3/4” x 11-1/2”.

88 pieces total 80.91 total t. oz. (weighable silver)

the pattern designed in 1871 by Edward C. Moore (1827-1891), New York, New York, monogrammed “MS”. l. 4-3/4”; 5.18 total t. oz. $1,000-$1,500

Detailed list of pieces available on request. $1,800-$2,500

635

257

636

636 Extensive Gorham “King Edward” Sterling Silver Flatware Set the pattern designed in 1936 by James Russell Price (19071974), Providence, Rhode Island, including two dozen sixpiece place settings and a further dozen four-piece place settings (two pieces lacking), with an additional ninety-three place pieces and twelve serving pieces, most monogrammed “D”, with a fitted, Pacific cloth-lined case with lift-top and single drawer, 6” x 16” x 11-1/2”.

295 pieces total 341.92 total t. oz. (weighable silver)

636 detail

637 Rare Set of Six French Silver Individual Asparagus Tongs f irst quarter 20th century, by Claude Doutre-Roussel (18551926), Paris, first standard (.950) silver, each bow-style pair in a Louis XV-inspired Art Nouveau pattern. l. 3-1/2”; 4.32 total oz. $1,000-$1,500

Detailed list of pieces available on request. $7,000-$10,000

637

258

638 Tiffany & Co. “English King” Sterling Silver Carving Service the pattern designed in 1885 by Charles Grosjean (1841-1888), New York, New York, including carving sets for beef, fowl and game with a sharpening steel, all with steel fittings, monogrammed “CAY”. l. 9” to 14-1/2” $1,000-$1,500

638

639 Five American Sterling Silver Serving Pieces

639

early 20th century, including: a Gorham “Versailles” salad serving set, designed in 1888 by Florentin Antoine Heller (1839-1904), l. 11-3/4”; a Reed & Barton “Les Six Fleurs” assembled salad serving set, designed in 1901 by Charles Augustus Bennett (1869-1939), l.

9-3/4” and 10-1/2”; and a Gorham “H86” pattern serving spoon, retailed by Robert C. Glover & Co., Dallas, Texas, decorated with chased poppies, the bowl gilded, l. 9”.

26.17 total t. oz.

Provenance: A River Oaks Estate, Houston, Texas. $1,000-$1,500

640 Six American Sterling Silver Serving Pieces early 20th century, including: a Durgin “Iris” asparagus server monogrammed “H”, l. 10-1/4”, and gilt serving spoon, no monogram, l. 9-7/8”; a Durgin “Dauphin” serving spoon monogrammed “EHG”, l.

8-3/4”, and fork, no monogram, l. 9”; and a Reed & Barton “Six Fleurs” serving fork and spoon, neither monogrammed, each l. 9-1/4”.

30.96 total t. oz. $1,000-$1,500

640

259

641 Stieff “Forget-Me-Not” Sterling Silver Flatware Set the pattern introduced in 1919, Baltimore, Maryland, comprising eight eight-piece place settings (one iced tea spoon lacking) with an additional eleven place and serving pieces in other, complimentary Stieff/Kirk patterns, most pieces monogrammed “MWE”, presented in a fitted, burgundy tarnish-resistant felt-lined wooden case with lifttop, 3-1/2” x 18-1/8” x 11”.

74 pieces total 92.09 total t. oz. (weighable silver) Detailed list of pieces available on request. $2,000-$4,000 642 Stieff Repousse Sterling Silver Tea Set 1930-1932, Baltimore, Maryland, model 1100, decorated with roses and other flowers in the traditional Baltimore taste, including: a teapot, h. 10-3/4”, l. 10”; a coffeepot, h. 10”, l. 9-3/4”; a milk jug, h. 6-1/8”, l. 5-3/4”; and a covered sugar bowl, h. 7-1/2”, w. 7-1/4”; each engraved with a pseudo-armorial: sable, three griffin’s heads erased or, two and one.

93.13 total t. oz.

641

$2,000-$4,000 643 American Sterling Silver Handled Trumpet Vase first quarter 20th century, by George A. Henckel & Co., New York, New York, for Gorham, Providence, Rhode Island, the paneled vase decorated with incised threading with palmette crests, the shaped rim with pierced and engraved floral banding and zigzag edge, with pointed strap handle en suite, the whole above a domed foot, monogrammed on the body “W”. h. 20-3/4”, dia. 8-3/4”; 30.60 t. oz. $1,000-$1,500

641 detail

643

642

260

644 Sterling Silver Tea Tray first quarter 20th century, by Graff, Washbourne & Dunn, New York, New York, of elongated hexagonal form with molded rim and integral handles, monogrammed on the plateau “GBA”.

26-1/4” x 17”; 99.82 t. oz. $2,500-$4,000 645 Wallace “Grand Baroque” Sterling Silver Flatware the pattern designed in 1941 by William S. Warren (1888-1965), Wallingford, Connecticut, comprising fifty-one place pieces and twenty-one serving pieces (the latter including some unusual pieces such as the pasta server and cheese grater).

71 pieces total 68.58 total t. oz. (weighable silver)

644

Detailed list of pieces available on request. $1,500-$2,500

645 645 detail

645 detail

645 detail

261

646 Keith Fay (American/Wyoming, 1920-2008) “The Old Buck and Rail” oil on canvas signed and copyright-marked lower right, titled on plaque at front.

Framed.

16” x 20”, framed 21-1/4” x 25-1/4” $1,000-$1,500

646

647 Collection of Important Texas Historical Memorabilia including a 1936 Centennial state flag, two early maps of Texas - the f irst a “Map of Texas as a Republic” by T. G. Bradford, engraved by G. W. Boynton, Boston, 1838, published in A Universal, Illustrated Atlas, Exhibiting a Geographical, Statistical, and Historical View of the World (Boston: Charles D. Strong, 1842), pl. 42; the second an engraved map of the “Texas and Indian Territory” by G. W. Colton and G. W. Fitch, published in Modern School Geography (New York: Ivison, Phinney & Co., 1862) - and a James Magee, Philadelphia, Civil War era patriotic cover with the arms of Texas, a tinted lithograph.

Flag 7-3/4” x 11”; maps (images) 14-1/8” x 11-1/2” and 8” x 6-3/8”, respectively; cover 5-3/8” x 2-3/7”.

Each matted, glazed and f ramed. f ramed 15” x 12-1/2” to 31” x 27-1/8”

647

$1,200-$1,800

648 Two Early Maps of the Texas Republic each engraved with hand-coloring, the f irst by T. G. Bradford, engraved by G. W. Boynton, published Boston, 1838; the second by C. S. Williams, f rom A New Universal Atlas Containing Maps of the various Empires, Kingdoms, States and Republics of The World by Henry S. Tanner, published as pl. 35, Philadelphia, 1847.

Each matted, glazed and f ramed.

16-1/8” x 13” and 12” x 14-3/4”, f ramed 28” x 25” and 17-3/4” x 21”, respectively $1,000-$1,500

648

262

649 “A New Map of Texas, Oregon and California with the Regions Adjoining”

by S. Augustus Mitchell, engraving with hand-coloring, 1st edition, published Philadelphia, 1846; framed together with original bound slip cover.

Matted, glazed and framed.

22-1/2” x 21”, framed 35-1/8” x 33-1/4” Provenance: Riddell Rare Maps and Fine Prints, Dallas, Texas; Private collection, Mobile, Alabama. $4,000-$7,000

650 “A New Map of Texas with the Contiguous American and Mexican States”

by J. H. Young, copper engraving with hand-coloring, published by S. Augustus Mitchell, Philadelphia, 1835.

Float-mounted with mat and glazed.

12-3/4” x 15-1/2”, framed 24-1/2” x 27-1/2”

649

Provenance: Riddell Rare Maps and Fine Prints, Dallas, Texas; Private collection, Mobile, Alabama. $12,000-$18,000 This is one of the rarest and most important maps of early Texas. Published in 1835, it is the first to recognize Texas’ independence from Mexico. Published in 1835 at the outset of the Texan War of Independence, it represents one of the most comprehensive views of Anglo-American settlements and involvement in the territory. Based after the “Father of Texas”, Stephen F. Austin’s 1830 watershed map and David Burr’s equally important one of 1833, it is an important historical record that depicts the Austin Colony, numerous land grants and colonies (captured in bright colors) and key settlements that illustrate American developments and homesteads, such as San Antonio de Bexas, sight of the Battle of the Alamo fought a year later in 1836, Brazoria Harrisburg, future location of Houston and f irst provisional capital of the Lone Star territory, the “Indian Territory” (now Oklahoma), and Fort Towson, a strategic U.S. army outpost on the “Indian Frontier”. In addition to the wealth of information provided within the land grants, which would later be developed into Texas counties, the map includes key roads, routes, riverways and three text box insets that elaborate on the grants and geographical bounty of the new land, enticing prospective Americans with “50,000 acres” of land “at the minimum price of 10 dollars” with “the finest stock” and “herds by the hundreds.”

650

263

651 “Bradford’s Map of Texas, 1st Separate Map of Texas to Appear in an Atlas”

by Thomas G. Bradford, copper engraving with hand-colored outlines, published Boston, 1835, together with accompanying atlas text.

Matted, glazed and framed. pl. 8-3/4” x 12”, framed 24-1/2” x 27-1/4” Provenance: Arader Galleries, Philadelphia, Pennsylvania. $1,500-$2,500 This map, published in Bradford’s Comprehensive Atlas, was the first plan of Texas to be cartographically acknowledged as in independent Republic in an American Atlas with its own separate map. Based on the “Father of Texas”, Stephen F. Austin’s watershed map, it shows the Austin Colony, divides the territory into fourteen important land grants instead of counties, and delineates the southwestern boundary with the “Mustang or Wild Horse Desert”. The map marked 64.A. is accompanied with the text marked 64.B. that highlights the topography, features and boundaries of the territory.

651

652 “A Map of Louisiana and of the River Mississipi [sic]”

by John Senex, copper-plate engraving with hand-coloring, published London, 1721.

Matted, glazed and framed.

21” x 23-5/8”, framed 32-5/8” x 34-1/4” $1,200-$1,800 Drawn from De L’Isle’s famous 1718 map, Senex’s work represents the first English Map of the French Louisiana Territory and the Mississippi Valley.

652

653 Government of Texas $50 Treasury Warrant issued November 1, 1838, number 1757, signed by Henry Smith, Treasurer and Sam Houston, President, imprint Toppan, Longacre & Co. Phila. & NY, the reverse with handwritten reissue “Reissued April 13, 1839 / Will not draw interest / A. Bingham / Treasurer”, presented in double glazed and matted float mount within a black and bold painted wood frame. note 3” x 7”, framed 11-3/4” x 16” $1,000-$1,500

653

264

654 Alexander John Drysdale (American/Louisiana, 1870-1934) “Bayou Landscape” oil wash on paper board signed lower right.

Matted, glazed and framed. sight 5-1/2” x 19-1/2”, framed 11” x 25” $1,000-$1,500

654

655 Alexander John Drysdale (American/Louisiana, 1870-1934) “Dusk Over the Bayou” oil wash on paper board signed lower left.

Matted, glazed and framed. sight 13” x 24”, framed 21” x 28” $1,500-$2,500

655

656 James L. Kendrick III (American/Louisiana, 1946-2013) “Natchez Steamboat on the Mississippi” oil on canvas signed and dated “1977” lower right.

Framed.

16” x 20”, framed 23-3/4” x 28” $1,000-$1,500

656

265

657 American Aesthetic Movement Faux Bamboo Dressing Table fourth quarter 19th century, possibly by R. J. Horner, New York, in maple and birdseye maple, the rectilinear mirror plate in a frame modeled to simulate bamboo, on like supports flanked by shelves and a turned gallery, the case with a frieze drawer over a pair of smaller drawers forming a kneehole opening, raised on turned legs joined by an H-form stretcher. h. 58-1/2”, w. 42-1/2”, d. 21” $2,000-$4,000

657

658 American Aesthetic Movement Maple and Faux Bamboo Dresser fourth quarter 19th century, with a rectangular tilting beveled mirror mounted to a base f itted with three side-by-side drawers over two long drawers, the drawer f ronts carved with radiating sunbursts, the whole trimmed with faux bamboo lathe-turned moldings. h. 83”, w. 51”, d. 22” $1,000-$1,500

658

266

659

659 Albert E. Backus (American/Florida, 1906-1990) “Marshland with a Horse and Herons on a Florida Ranch” oil on canvas signed lower right.

Framed.

20” x 24”, framed 26-3/4” x 30-3/4” Provenance: Private collection, Florida.

Exhibited: Harold Newton Retrospective, 1954-1992, Foosaner Art Museum, Melbourne, Florida, November 6-December 19, 2020. $20,000-$40,000 “We really do have Backus clouds, and often. We really do have water that color, and peculiar light effects, and often".

Actually, Backus is “telling it like it is” - namely, beautiful” Griffin Smith, art critic/editor, “Backus Reigns at Bacardi”, Miami Herald, Jan 11, 1970,

A.E. “Bean” Backus, often regarded painter laureate of Florida, a native son and visual poet, captured the flora and fauna of Florida for more than half a century, inspiring generations to come, most notably the Highwaymen. Largely self-taught, his style is unique to Florida - it is vivid, bold; it is bright, even a little kitsch at times in its iconic skyline grandeur - an homage to his early commercial days - but, above all, the lighting is magnetic. Backus’ command of colors, executed through broad palette knives and later brushwork, scintillate.

The billowing clouds, roiling shadows, and mangroves that devour all evoke the heat of the tropical climate, creating an effect as visceral as it is visual

By the 1980s, when this work was painted, Backus was at the apex of his success. Demand was so great for his landscapes that the Miami Herald reported that he had a two-year backlog of orders f rom wealthy collectors and businessmen that included former President Lyndon B. Johnson, governors, congressmen, and majors ranchers and agricultural developers - for which commissions included travel by airboat and swamp buggy to reach Florida terrain unadulterated by development and tourism. This unique commission celebrates flora and wetlands of Florida ranches as well its fauna- the herons and a prized halter horse.

267

660 Robert Rucker (American/Louisiana, 1932-2001) “The Old French Antique Shop” oil on canvas signed lower right.

Framed.

16” x 20”, f ramed 20” x 23-3/4” $1,000-$1,500

660

661 Clarence Millet (American/Louisiana, 1897-1959) “Nocturnal Scene” oil on canvas panel signed lower right, verso stenciled “Canvas Panel Gimbel’s Art Supply Department”.

Framed.

12” x 16”, f ramed 19” x 23” $2,500-$4,000

661

268

662 Charles Henry Reinike (American/Louisiana, 1906-1983) “Farm Scene with Man on a Donkey” watercolor on paper signed lower left.

Glazed and framed. sight 6” x 9”, framed 13” x 16” $1,000-$1,500

662

663 Ellsworth Woodward (American/New Orleans, 1861-1939) “Louisiana Landscape with Pine Trees” watercolor on paper signed lower left.

Glazed and f ramed. sight 9” x 7”, f ramed 12” x 9-3/4” $2,000-$4,000

663

269

664

665

664 Turkish Angora Oushak Runner

665 Turkish Angora Oushak Runner

2’ 7” x 23’ 6”

2’ 8” x 25’ 7”

$1,000-$1,500

$1,000-$1,500

270

666

667

666 Persian Heriz Carpet 8’ x 11’ 3” $1,000-$1,500

667 Semi-Antique Oushak Carpet 8’ x 12’ $1,400-$1,800

668 Silk Tabriz Carpet signed.

9’ 9” x 13’ 6” $1,500-$2,500

668

271

669 Peshawar Mahal Carpet 7’ 2” x 16’ 7” $1,200-$1,800

670 Turkish Angora Oushak Carpet 9’ x 11’ 8” $1,000-$1,500

671 Turkish Angora Oushak Carpet 9’ 1” x 12’ $1,200-$1,800

669

670

272

671

672 Semi-Antique Oushak Carpet 5’ 9” x 8’ 4” $1,000-$1,500

673 Isfahan Silk and Wool Carpet 9’ 6” x 12’ 10” $5,000-$8,000

674 Tabriz Carpet 9’ 7” x 13’ 8” $1,500-$2,500

672

673

674

273

675

676

677

678

675 Agra Heriz Carpet

677 Heriz Carpet

11’ 11” x 16’

9’ 8” x 13’ 8”

$1,400-$1,800

$1,000-$1,500

676 Antique Tabriz Carpet

678 Turkish Angora Oushak Carpet

10’ 1” x 15’ 10”

12’ 2” x 15’

$1,500-$2,500

$1,500-$2,500

274

679 Andries Scheerboom (Dutch, 1832-1880) “The Fisherman’s Alms” oil on canvas signed lower right.

Framed.

36” x 28”, f ramed 50” x 41” $1,800-$2,500

679

680 Geza Peske (Hungarian, 1859-1934) “Children Feeding the Ducks” oil on canvas signed upper left.

Framed.

26” x 32-1/2”, framed 36-1/2” x 42-3/4” $1,000-$1,500

680

275

681 Andreas Franciscus Vermeulen (Belgian, 1821-1884) “Evening Market Scene” oil on wood panel signed lower left.

Framed.

22-1/2” x 19-1/2”, framed 34” x 30” $2,500-$4,000

681

682 Imre Gergely (Hungarian, 1868-1914) “Market Scene” oil on canvas backed by wood panel signed lower right.

Framed.

23-1/2” x 31-1/2”, framed 29” x 37” $1,000-$1,500

682

276

683 Provincial Louis XV-Style Fruitwood Buffet a Deux Corps 20th century, in two parts, the upper section with a bonnet top over a pair of doors with shaped panels, the base with a pair of drawers over a pair of doors, on cabriole legs. h. 80-1/2”, w. 47-1/2”, d. 20-1/2” Provenance: Wirthmore Antiques, New Orleans, Louisiana; Private collection, New Orleans, Louisiana. $1,200-$1,800

684 Impressive Provincial Oak Refectory Table early 20th century, the long banded top raised on turned columnar end supports and center supports, and joined by a stretcher to runner feet, mortised and pegged throughout. h. 30”, w. 43-1/2”, l. 118” $2,500-$4,000

683

684

277

685 Provincial Louis XV Vasselier 18th century, of mixed woods, including fruitwood and oak, the molded cornice over a pair of doors with scalloped panels, now fitted with wire, with two galleried shelves below, the lower portion with a pair of shallow drawers, raised on square legs joined to a low shelf. h. 87-1/8”, w. 59”, d. 21” $1,000-$1,500

686 Unusual Cast Aluminum Garden Bench mid-20th century, in the form of a French provincial triple chair-back bench, with a floating caned seat. h. 39”, w. 66”, d. 24” $1,500-$2,500

685

686

278

687 Charles-Francois Daubigny (French, 1817-1878) “Vaches au bord d’une Mare” oil on wood panel signed and indistinctly dated lower right.

Framed.

12-1/4” x 22”, framed 22-1/2” x 32-3/4” Provenance: Private collection, Georgia. $4,000-$7,000

687

688 Leon Richet (French, 1847-1907) “Paysage avec Une Paysanne” oil on linen signed lower right.

Framed with glass.

12-1/2” x 18-1/8”, framed 22-3/8” x 27-3/4” $1,000-$1,500

688

689 Theodore Rousseau (French, 1812-1867) “Sketch of a Landscape with a Hay Wagon” oil on paper laid down on board signed lower right.

Unframed.

8-1/2” x 12-1/4” $1,000-$1,500

689

279

690 Provincial Louis XV-Style Fruitwood Commode 19th century, the commode with a pair of drawers with molded and shaped panels, an open floral- and leafcarved apron, serpentine paneled sides and cabriole legs ending in French toes. h. 37”, w. 59”, d. 25-1/2” $1,500-$2,500

691 French Provincial Carved Oak Armoire 19th century, with a removable cornice above a frieze centered with a carved flower basket, the framed doors with raised panels and finely carved details, with a scalloped base and raised on cabriole legs. h. 94”, w. 67”, d. 25”

690

$1,500-$2,500

691

280

692 Louis XIV Miniature Fruitwood Commode 18th century and later, the drawers with carved panels and brass rococo pulls, the carved skirt with an inlaid star, raised on pied de sabots. h. 13-1/2”, w. 18-1/4”, d. 10” $1,000-$1,500

692

693 Louis XIV Miniature Bombe Commode early 18th century and later, with a molded top, carved scroll feet and steel hardware. h. 13-1/2”, w. 18-1/2”, d. 9” $1,000-$1,500

693

694 Louis XIV-Style Carved Walnut Miniature Chest 19th century and later, with a molded top edge, carved panels on the drawer f ronts and sides, and a scalloped skirt. h. 15”, w. 16-1/2”, d. 9-1/2” $1,000-$1,500

694

281

695 French Beaux-Arts Terracotta Fountain in the Neoclassical Taste ca. 1900, adorned with a panoply of neoclassical motifs, including ram’s heads, Atlantes, foliage, scrolls and shells, a panel depicting an allegorical figure with a putto, a satyr masque and dolphins. h. 69-1/2”, w. 20”, d. 10-1/2” $1,500-$2,500 696 Louis XV-Style Gilded Beechwood Cartel Clock 20th century, lavishly carved with rocaille scrollwork and flowerheads, a pair of lovebirds carved above the dial, the lower portion with a putto against a carved shell, with a signed “FHS” (Hermle) German clock movement. h. 38”, w. 20” $1,200-$1,800 697 French Provincial Carved Oak Armoire 19th century, the upper frieze centered with carved lovebirds and relief-carved grape and leaf motifs, above a pair of mirrored doors with like-carved details, the interior lined in velvet. h. 80”, w. 54”, d. 22”

696

$1,000-$1,500

695

282

697

698 Pair of French Rococo-Style Giltwood Mirrors ca. 1900, each with an oval mirror plate lined with rocaille-carved giltwood, and framed with a leaf- and scroll-carved giltwood surround punctuated with carved flowerheads and surmounted by a central pierced basket-of-flowers finial. h. 44”, w. 28-1/4” $1,200-$1,800

698

699 Pair of Louis XVI Walnut Fauteuils late 18th century, each with a molded back with a ribbon- and floral-carved crest, open arms with scroll ends, serpentine seat rail and tapering panelcarved legs adorned with bellflowers. h. 35-1/4” $1,200-$1,800

699

700 Pair of Louis XVI Mahogany Fauteuils late 18th century, each with a beaded and molded top rail and stiles joined to open arms with like carving, a bowed seat rail and fluted and stop-fluted legs, now upholstered in tan suede. h. 36” $1,500-$2,500

700

283

701 Provincial Louis XV Fruitwood Commode 18th century, the shaped and molded overhanging top above two conforming paneled drawers, the scalloped apron centered by a carved shell, raised on cabriole legs ending in cloven hooves. h. 33”, w. 46”, d. 26” $1,200-$1,800

701

702 Ernesto Strigelly (German, 19th Century) “Stopping by the Bridge on a Snowy Evening”, 1881 oil on canvas signed and dated lower right, frame backing with remnants of two typewritten labels.

Framed.

24” x 42”, f ramed 35-1/4” x 53-1/4” $1,500-$2,500

702

703 Henry Schouten (Belgian, 1864/7-1927) “Poultry at Mealtime” oil on canvas signed lower right.

Framed.

17” x 24”, f ramed 24” x 31” $1,000-$1,500

703

284

704

706

705

704 Gerrit Jan Schouten (Belgian, 1815-1878)

705 Henry Schouten (Belgian, 1864/7-1927)

706 Henry Schouten (Belgian, 1864/7-1927)

“Boar Hunt”

“Plowing the Fields”

“The Milkmaid”

oil on canvas signed lower left.

Framed.

40” x 59”, framed 52” x 70-1/2”

oil on canvas signed lower left.

Framed.

35-1/2” x 53-1/4”, f ramed 41” x 59”

oil on canvas signed lower left.

Framed.

31” x 23”, f ramed 43” x 36”

$3,000-$5,000

$3,000-$5,000

$1,500-$2,500

285

709 707 707 Jan van Ravenswaay (Dutch, 1789-1869)

709 Frederik Brouwer (Dutch, 1891-1965)

“Farm Scene with Cattle and Sheep”, 1826

“Dutch Landscape with a Village and Figures”

oil on canvas signed and dated lower left.

Framed.

21-1/2” x 28”, framed 28” x 34”

oil on canvas signed and dated “1920” lower left.

Framed.

32” x 47”, f ramed 39” x 54-1/2”

$3,000-$5,000

$2,000-$4,000

708 Francois van Severdonck (Belgian, 1809-1889)

710 Maurits Ernest Hugo Kerkhoff (Dutch, 1830-1908)

“Sheep and Lamb Near a Duck Pond”

“Landscape with a Milkmaid, Shepherd and Farm Animals”

oil on wood panel signed and dated “1868” lower center, further inscribed en verso.

Framed.

6-3/4” x 9-1/4”, framed 12” x 14-1/2”

oil on wood panel signed lower right.

Framed.

13” x 19”, f ramed 18” x 24”

$1,500-$2,500

$1,800-$2,500

708

286

710

711 Andre Cortes (Belgian, b. 1866) “On the Road to the Market” oil on canvas signed lower left.

Framed.

21-1/2” x 25-1/2”, framed 31” x 35” $1,400-$1,800

711 712 Eugene Joseph Verboeckhoven (Belgian, 1798/99-1881) “Moutons Effrayes par la Tempete”, 1847 oil on canvas signed and dated lower left.

Presented in a period giltwood frame.

40-1/4” x 54-1/2”, framed 54-1/2” x 69-1/2” Provenance: Sold in these room, December 5, 2008, lot 861. $5,000-$8,000

713

713 Joseph Jodocus Moerenhout (Belgian, 1801-1874/75) “The Falconry”, 1852 oil on wood panel signed and dated lower left center, and titled on a gallery label en verso f rom “Rococo Kunsthandel, Gulpen [Netherlands]”.

Framed.

24” x 30-3/8”, framed 33-1/4” x 39-3/4” Provenance: Christie’s Amsterdam, April 18, 2000, lot 145. $10,000-$15,000

712

287

714

716

714 Miniature Inlaid and Brass-Mounted Bottle Case in the Form of a Cylinder Desk second quarter 19th century, Dutch, the “desk” section inlaid with a basket of flowers, the inlaid false drawers flanked by brass-mounted ebonized columns on brass ball feet, the sides with brass carrying handles. h. 12”, w. 10”, d. 9-1/2” $1,000-$1,500

715 Dutch Mahogany and Marquetry-Inlaid Vitrine on Chest late 19th century, the molded and domed cornice centered by a fleur-de-lis cartouche, above a single glazed door and glazed sides, the lower bombe case fitted with three graduated long drawers, raised on hairy hoof feet, the whole richly accented with foliate marquetry inlays. h. 79”, w. 41”, d. 20” $1,200-$1,800

716 Swiss Cylinder Music Box in a Marquetry-Inlaid Case fourth quarter 19th century, decorated with inlaid musical trophies and oak leaves against a rosewood panel with walnut crossbanding, set with molded bronze handles, the interior cover with a card listing six airs. h. 7-3/4”, w. 24-3/4”, d. 11-1/2” $1,200-$1,800

715

288

717 719 717 Dutch Mahogany and Marquetry-Inlaid Bench early 20th century, of triple chair-back form, with out-curved arms and slip seat, raised on cabriole legs ending in carved paw feet, the whole richly marquetry inlaid with floral motifs. h. 46”, w. 71”, d. 21” $1,000-$1,500

718 Dutch Marquetry-Inlaid Linen Press early 20th century, in two parts, the upper case with an arched top above a pair of shaped doors, the base fitted with three graduated long drawers, the whole profusely inlaid. h. 86”, w. 72”, d. 21” $1,200-$1,800

719 Meissen Biscuit Porcelain Depiction of Venus and Cupid post-1934, German, the crouching Venus embracing Cupid, holding his bow while he grasps an arrow, the base with blue crossed swords marks. h. 22-3/4”, w. 11-1/2”, d. 11-3/4” $1,000-$1,500

718

289

720 Attributed to Garnet Ruskin Wolseley (British, 1884-1967) “Story Time by the Garden Window” oil on canvas unsigned.

Presented in a giltwood frame.

42” x 52”, framed 54” x 62-1/2” Provenance: Sold in these rooms, May 20, 2006, lot 164. $4,000-$7,000

720

721 Madeleine Jeanne Lemaire (French, 1845-1928) “Femmes Attendant dans Un Salon” oil on canvas laid down on board signed lower right.

Framed.

32” x 42-1/2”, framed 39” x 49-3/4” Provenance: Private collection, Georgia. $6,000-$9,000

721

722 William Charles Thomas Dobson (British, 1817-1898) “Reverie”, 1864 oil on canvas signed with symbol monogram and dated “1864”.

Framed.

20” x 24”, f ramed 30-1/2” x 34” $2,000-$4,000

722

290

723 Attributed to Ida Baumann (Swiss, 1864-1932) “Her New Pet” oil on canvas unsigned, typewritten biography and several old labels en verso, artist plaque at front.

Framed.

40” x 27-3/4”, framed 45-3/4” x 33-1/4” $3,000-$5,000 724 Jules-Alexis Muenier (French, 1863-1942) “La Jeune Lavandiere”, 1910 oil on canvas signed and dated lower right, frame backing with remnants of an old French label and a “Bonfoey Gallery” label.

Framed.

25-3/4” x 21-1/4”, framed 34” x 29-5/8” Provenance: Bonfoey Gallery, Cleveland, Ohio. $8,000-$12,000 725 Constant David Ludovic Artz (Dutch, 1870-1951)

723

“Family of Ducks” oil on canvas signed lower left, verso affixed with artist’s biography.

Framed.

21-3/4” x 25-1/2”, framed 25” x 29” $1,500-$2,500

725

724

291

726

726 Pair of William IV Old Sheffield Plate Wine Coolers

726 detail

second quarter 19th century, each of lobed campana form, with acanthus-mounted handles and applied grapevine banding, with rocaille rim and base, fitted with a conforming collar and liner, engraved with a crest of an eagle preying on an owl. h. 11-3/4”, dia. 10” $1,200-$1,800 727 Pair of William IV Old Sheffield Plate Sauce Tureens second quarter 19th century, probably John Watson & Son, Sheffield, each of lobed oval form with acanthusmounted feet, ring handles and rim, the fitted lid and body with engraved armorial. h. 6”, l. 8-1/4”, w. 5”

727

$1,000-$1,500 728 George V Sterling Silver Dish Ring hallmarked London, 1920-21, by George Perkins, of waisted cylindrical form and decorated with an openwork band of scenic farm life on a rococo scroll ground, fitted with a Bristol glass liner. h. 4”, dia. 7-3/4”; 15.31 t. oz. (excluding liner) $1,000-$1,500 Dish rings, sometimes called “potato rings” because of their popularity in 18th-century Ireland, were receptacles to hold a glass, ceramic or wooden bowl with hot contents (indeed, such as potatoes) and protect the table from its heat. They generally had differing diameters on the top and bottom so as to be inverted to hold bowls of differing sizes. Later examples such as this were made (and earlier examples retrofitted) with glass liners so that they could additionally be used as flower or fruit bowls.

728

292

729 Impressive English Silverplate Roast Beef Trolley second half 20th century, by Israel Freeman & Son, Ltd., Sheffield, comprised of a large dome which rotates to reveal an integral well-and-tree carving station and three reservoirs for condiments, one covered , the whole above a hot-water reservoir, fitted to a “turtleback”-shaped stand with opposing handles, raised on four leonine caryatids, one crested with a retractable plate stand and all joined by a deep conforming stretcher housing a plate warmer accessed by doors and above a spirit burner, all above a conforming plinth raised on sturdy locking wheels, the dome engraved with a decorative armorial. h. 46”, w. 35-3/4”, d. 22-3/4” $6,000-$9,000

729

730 English Sterling Silver Cafe au Lait Set

730

hallmarked Birmingham, 1974, by Roberts & Dore, in the Queen Anne taste, including a coffeepot and hot milk jug, each of conical form with domed lid, toupie finial and crested “S”-scroll wooden handle, the coffeepot with “gooseneck” spout, the milk jug with open “duck’s beak” spout. h. 10-1/4”, base dia. 4-1/2”, l. 7-1/4” and 8”; 54.47 total t. oz. (including handles) $1,500-$2,500

731 Pair of English Silverplate Wine Coolers contemporary, marked “H.E. T. & Co., Sheffield”, in the Victorian taste, each urn-form cooler with an openwork body of scrolling grapevines raised above a circular base raised on four acanthus-mantled dolphin-masque feet and decorated with three seated gilt putti, the body f itted with a pale cranberry glass liner. h. 12”, dia. 9-1/4” $2,000-$4,000

731

293

732 Good Continental Silverplate Wine Trolley ca. 1900, probably French, the three-wheel carriage-form trolley decorated with openwork scrolling grapevines, the two large wheels with spokes en suite, fitted with a mechanical cradle raising and lowering by means of a thumb-screw, the bottle held with ring and chain collar. h. 8-3/4”, w. 7-1/4”, l. 13-1/4” $1,200-$1,800 733 German Sterling Silver Wedding Cup contemporary, in the traditional form of a woman in Elizabethan dress holding aloft a gimbaled frame fitted with a waisted cup. h. 11-3/4”, w. 5-1/4”; 20.47 t. oz.

732

$1,000-$1,500 Wedding cups, also called wager cups, originated in Holland in the 17th century, but were popular throughout Europe. The woman’s flared skirt formed a second cup when inverted, and the object was to drink the contents of both cups without spilling any. Accomplishing the difficult feat was said to bestow good luck on the bride and groom.

733

734 German Novelty Sterling Silver “Squirrel” Cocktail Shaker contemporary, Ludwig Neresheimer Co., Hanau, in the form of a realistically detailed European squirrel, its paw resting on a walnut, its mouth a faux spout fitted with a chained “stopper” with an acorn, the head fitted with glass eyes and detaching to reveal the detachable strainer. h. 6-1/4”, l. 11-1/2”; 28.92 t. oz. $4,000-$7,000 735 Twelve Silverplate Figural Animal Napkin Rings contemporary, cast and assembled from vintage elements, with floral, foliate, grapevine and banded rings, with dogs, pigs, birds, chicken, turkey, peacock, bear, frogs and other animals, in a variety of playful poses with wagon, see-saw, and washtub. the smallest, l. 3”; the largest, l. 4-3/4”

734

$1,200-$1,800

294

735

736 Robert Gallon (British, 1845-1925) “Worcester Cathedral” oil on canvas signed lower left, based on a painting by Benjamin Williams Leader (1831-1923).

Framed.

20” x 30”, framed 29” x 39” Provenance: Mr. and Mrs. T. W. Eason, Oklahoma City, Oklahoma; thence by descent to Ambassador and Mrs. John G. Weinmann, New Orleans, Louisiana; thence by descent to consignor. $1,000-$1,500

736

737 Andrew Melrose (American, 1836-1901) “The Overlook” oil on wood panel monogrammed “M” lower left.

Framed.

8-1/2” x 10-3/4”, f ramed 13-1/2” x 16” Provenance: James D. Julia, Inc., August 25-27, 2010, lot 1523; Private collection, Georgia. $1,000-$1,500

737

738 Charles Edwin Baldock (British, 1876-1905) “Chestnut”, 1912 oil on canvas signed lower left, signed, dated and localized “Worksop” en verso.

Framed.

16” x 20-1/4”, framed 23-1/2” x 26-3/4” $1,000-$1,500

738

295

739 William Lucas Lucas (British, 20th Century) “Bargold”, 1930 oil on canvas signed and dated lower left, titled lower right.

Framed.

17” x 21”, framed 20-1/4” x 24-1/4” $2,000-$4,000 A horse named “Bargold’ was listed at nine wins and zero losses in the 1939 hurdle races at the South Australian Jockey Club (SAJC) at Morphettville. He is likely the same “Bargold” listed as stable mate of the famous British racer and sire “Papyrus”.

739

740 William Lucas Lucas (British, 20th Century) “Hamilkar”, 1930 oil on canvas signed and dated lower right, titled lower left.

Framed.

17” x 21-1/2”, framed 20-1/4” x 24-1/4” $2,000-$4,000 A chestnut horse named “Hamilkar” was a successful German racer of British pedigree, sired by “Hannibal” through “Highland Queen” in 1899. He was undefeated for several years, most notably winning the Deutsches St. Leger in 1902.

740

296

741 George III Brass-Bound Mahogany Cellarette ca. 1800, of barrel form with a hinged lid opening to a zinc-lined interior and mounted to a conforming base with tapering square legs ending in spade feet. h. 27”, w. 20”, d. 17” $1,500-$2,500 742 Pair of Carved and Painted Baluster Turnings 19th century and later, now mounted as lamps, decorated with carved reeding and remnants of parcel-gilt trim, mounted on acrylic bases. h. 21-1/4”, w. 5-1/2”, d. 5-1/2” $1,000-$1,500 743 British School (Fourth Quarter 18th Century/First Quarter 19th Century) “Primitive Family Portrait” oil on canvas unsigned.

Framed.

18-3/8” x 22-7/8”, framed 25-5/8” x 29-1/2”

741

$1,000-$1,500

743

742

297

745

744 George II Circassian Walnut Secretary 18th century, the shaped top with a pair of conforming banded doors, opening to an interior fitted with drawers and hinged doors, a pull-out work slide below, the base with a butler’s desk fitted in the top drawer, raised on turned feet. h. 83”, w. 42”, d. 22-1/2” $1,500-$2,500

744

745 George III-Style Leather Wing Chair of traditional form, diamond-tufted in green leather and raised on legs ending in ball-and-claw feet. h. 41”, w. 34”, d. 32” $1,000-$1,500

746 English Georgian Miniature Mahogany Chest of Drawers fourth quarter 18th century, on bracket feet, each drawer with an inlaid false escutcheon, set with a molded top and pine secondary wood. h. 13-1/2”, w. 16-1/2”, d. 8” $1,000-$1,500

298

746

747

749

747 Chippendale-Style Walnut Bracket Clock 749 John Frederick Lewis (British, 1805-1876)

18th/20th century, the Chippendale-style case set with an 18th-century British dial signed “John Brockbank, London”, and mounted with 20th-century Seth Thomas works. h. 19-3/4”, w. 11-1/2”, d. 7-3/4”

“Italianate Landscape with Figures”

$1,000-$1,500

ink on paper signed lower left.

Glazed and f ramed. sheet 6-1/2” x 9-1/4”, f ramed 14-1/2” x 17-1/4”

748 Early American Cherry Slant-Lid Desk and Walnut Side Chair

$1,000-$1,500

18th century, the desk with a fitted interior and shell-carved document door, fitted with four graduated long drawers, h.

39”, w. 42”, d. 20-1/2”, the chair, lower Delaware River Valley, with a shaped crest rail and backsplat, raised on cabriole legs ending in pad feet, h. 40”, w. 22”, d. 19”. $1,000-$1,500

748

299

750 George II Burr Walnut and Parcel-Gilt Mirror mid-18th century, the ogee-molded surround set with a carved giltwood liner, with an arched crest decorated with a giltwood Prince of Wales feathers finial, the sides with pierced, trailing flowerheads, leaves and acorns, set with an antique mirror plate. h. 39”, w. 27-3/4” Provenance: A River Oaks Estate, Houston, Texas. $1,000-$1,500 751 George III-Style Mahogany Crest late 19th century, the rectangular top above a conforming case fitted with four graduated long drawers, with finely figured veneers, raised on bracket feet. h. 31-1/2”, w. 33-1/4”, d. 20-1/2” $1,500-$2,500 752 George III-Style Carved Mahogany Bench

750

early 20th century, of double chair-back form with a central carved shell, and graceful shaped arms, the slip seat raised on cabriole legs ending in ball-and-claw feet. h. 42”, w. 49”, d. 21” $1,000-$1,500 753 George III-Style Mahogany Writing Table early 20th century, the rounded rectangular top with an inset leather writing surface, above a conforming leather-inset frieze fitted with one drawer, raised on cabriole legs headed by acanthine carving and ending in ball-and-claw feet. h. 30-1/2”, w. 61”, d. 31” $1,000-$1,500

752

751

300

753

754 George III Mahogany Bachelor’s Chest late 18th century, the top with a molded edge, above a pullout work slide, the case fitted with three graduated long drawers and raised on bracket feet. h. 36”, w. 41”, d. 20-1/2” $1,000-$1,500

755 Pair of George III-Style Mahogany Gainsborough Chairs first quarter 20th century, each with a padded rectangular back joined by padded downswept arms to the like seat, raised on cabriole legs headed by shell carving and ending in ball-and-claw feet, now upholstered in cream damask. h. 40”

754

Provenance: Private collection, New Orleans, Louisiana. $1,000-$1,500

756 George III-Style Mahogany Chest 19th century, in the manner of eminent 18th-century English cabinet-maker Henry Hill, the banded serpentine top above a conforming case fitted with two small drawers over three graduated long drawers, all banded, and raised on splayed bracket feet. h. 36”, w. 48”, d. 24-1/2” Provenance: Private collection, New Orleans, Louisiana. $1,400-$1,800

756

755

301

757 Carved and Stripped Pine and Marble-Top Console 19th century, in the manner of William Kent, the conforming white marble top over a foliate-carved molding and modified Greek-key frieze, raised on legs with carved lion’s heads and ending in scrolled feet. h. 33”, w. 54”, d. 23” $3,000-$5,000

757 758 Attributed to John Russell, R.A. (British, 1745-1806) “Portrait of a Lady in an Egyptian Blue Satin Sash, Seated Beside a Balcony” pastel on paper unsigned, a “Richard Ivor/Georgina Ivor/Fine English Watercolours/London” label en verso.

In a glazed antique gesso and giltwood frame. sight 29-1/4” x 24-1/4”, framed 39” x 33-3/4” Provenance: Likely Sotheby’s London, March 22, 1979, lot 138; Richard and Georgina Ivor, Fine English Watercolours, London, England; St. Charles Art Gallery, New Orleans, Louisiana; Private collection. $2,000-$4,000

758

759 Three-Piece Collection of Japanese Imari Porcelain ca. 1900, including a charger decorated with a vase of peonies and willow branches, dia. 18-1/2”, a lobed vase, h.

10”, dia. 6-1/2”, and a ginger jar-form lamp decorated with large peonies, with brass f ittings and mounted with a shade, h. 29-1/4”, dia. 19”. $1,000-$1,500

759

302

760 763 760 Franco-Japanese Bronze-Mounted Imari Porcelain Punch Bowl ca. 1900, the punch bowl with a cobalt ground decorated with orange and gilt panels of peonies and plum branches, mounted with scrolled bronze handles, on a rocaille-molded and pierced base. h. 13-1/2”, w. 18-1/2”, d. 12-1/4”

762 Pair of George III-Style Parcel-Gilt Mahogany Armchairs each with a molded and carved balloon back with a pierced fan-form splat, joined to open arms with foliate-carved scroll ends on fluted and carved supports, with bowed seat rail and fluted tapering legs with acanthus carving. h. 39-1/4” Provenance: A River Oaks Estate, Houston, Texas.

$1,000-$1,500 $1,200-$1,800 761 Exceptional English Rococo Revival Bronze-Mounted Tortoiseshell Case

763 George III Mahogany Sideboard in the Hepplewhite Taste

second quarter 19th century, with gilt-bronze trim molded with rocaille ornament and flowerheads, supported on scrolled feet, the lower edge and escutcheon with molded scrollwork. h. 4-3/4”, w. 14-1/2”, d. 9-1/2”

f irst quarter 19th century, with a concave center drawer flanked by deeper curved doors with f igured oval panels, adorned with line stringing, raised on tapering legs with contrasting light-wood cuffs. h. 38”, w. 68”, d. 30”

$1,200-$1,800

$1,200-$1,800

761 762

303

764 George III-Style Mahogany Breakfront Secretary mid-20th century, the upper section with four astragal-glazed doors, the base with a butler’s desk in the center drawer, flanked by drawers to each side and fitted with four raised panel cabinet doors below. h. 88”, w. 84”, d. 20” $1,200-$1,800

765 Pair of Mahogany Silver Tables in the Chinese Chippendale Taste 20th century, each with a pierced and carved gallery above a straight frieze, one end fitted with a drawer, raised on pierced tapering square legs joined by a finial-centered stretcher and ending in spade feet. h. 27”, w. 30”, d. 23” $1,200-$1,800

764

765

304

766 George III-Style Inlaid Mahogany Child’s Chair 20th century, in the Hepplewhite taste, the shield back framed with floral and vine inlay, the tapering legs with inlaid bellflowers joined by an H-form stretcher. h. 26-1/2”, seat h. 12” $1,000-$1,500 767 Collection of Tortoiseshell Boxes and a French Etui 19th century, French and English, the collection including an exceptional walnut shell etui containing a perfume bottle, a funnel, scissors, tweezers and a postage-stamp-sized 1808 almanac, h. 1-3/4”, w. 2”, d. 1-1/2”, a William IV octagonal tea caddy with a mother-of-pearl escutcheon, h. 4-1/4”, w. 6-1/2”, d. 5-3/4”, a bone tobacco box with an inlaid hinged cover, h.

1”, w. 3-3/4”, d. 1-3/4”, two similar cases with slanted covers and divided interiors, h. 2-1/4”, w. 1”, d. 1-1/4”, and a round pill box with a hinged cover decorated with a miniature architectural view in a gilt-bronze bezel, h. 3/4”, dia. 1-3/4”.

767

$1,000-$1,500 768 Regency Brass-Inlaid Faux Rosewood Secretary Bookcase 19th century, in two parts, the cornice with a die-cut brass panel over a molded and beaded frieze, over a pair of glazed doors with horizontal mullions, the base with a fold-out drawer opening to reveal a tooled leather writing surface, open shelves and drawers with satinwood faces, and a pair of paneled doors below, decorated throughout with inlaid brass stringing and die-cut ornament. h. 95-1/4”, w. 47”, d. 22” $2,000-$4,000

766 768

305

769 769 George Henry Boughton (British/American, 1833-1905) “Indifference” oil on canvas signed lower left.

Framed.

18” x 36”, framed 25” x 43” Provenance: James D. Julia, Fairfield, Maine, February 4, 2011, lot 1244; Private collection, Hilton Head, South Carolina; Shannon’s Fine Art Auctioneers, Milford, Connecticut, October 26, 2017, lot 154; Private collection, Georgia.

Painting was titled on original brass artist plaque when it was sold in 2011 at James D. Julia with the accompanying poem: When my hair is gray, then shall I be wise then, thank heaven I shall not care for bronze brown eyes.” $5,000-$8,000 770 Pair of Polychromed Pedestals in the Adamesque Taste each of baluster form with a faux marble top and base, the column with a lotus-carved top and bottom, adorned with central plaques depicting classical maidens, set in polychromed flora and vines on a mustard ground. h. 41”, w. 12”, d. 12”

770

Provenance: A River Oaks Estate, Houston, Texas. $1,000-$1,500 771 Pair of William IV Bronze Dore Figures Personifying Autumn second quarter 19th century, each with a putto on a stepped bronze base, one with a sheaf of wheat and a scythe, the other with grapes. h. 8”, w. 7”, d. 4-3/4” $1,000-$1,500

306

771

772 George III Mahogany Sideboard in the Hepplewhite Taste ca. 1800, the bowed top over a conforming case with a central drawer over a tambour door, flanked by a bank of two drawers, one with an interior fitted for bottles, the drawers with beaded perimeters, raised on tapering square legs with spade feet. h. 37-1/2”, w. 66”, d. 28” $1,200-$1,800

773 Monumental Regency Giltwood Mirror first quarter 19th century, the sides with pairs of molded Corinthian columns terminating in blocks decorated with images of Psyche, supporting a bracketed top cornice set with an ogee crown molding above a classical verre eglomise tablet, possibly depicting Greek tragedian Aeschylus. h. 110”, w. 69” $1,000-$1,500

773

772

307

776

774

777

775 774 Three Italian Glass Plate Dioramas 20th century, layers of glass with eglomise and hand-painted cut-outs of 19th-century engravings and lithographs, the examples illustrating: an exhibition, h. 12-1/4”, w. 16-1/2”, d.

2-1/4”; a funeral procession, h. 8-1/2”, w. 17-1/2”, d. 2-1/4”; and a fire show, h. 10-1/2”, w. 12”, d. 2-1/4”. All glazed and presented in framed shadowboxes.

776 Pair of Regency-Style Creme-Peinte and Parcel-Gilt Armchairs

Provenance: Bruce McCashin Collection.

each with a back-scrolled crest above a paneled shell- and foliate-applied back, joined by fluted downswept arms to the padded seat, raised on ring-turned tapering circular legs. h. 33”

$1,000-$1,500

$1,200-$1,800

775 Pair of George III-Style Polychromed and Silver-Gilt Pedestals

777 Pair of Regency-Style Creme-Peinte and Parcel-Gilt Armchairs

each with a shaped tray-form top with a raised, molded edge and mounted to a turned and fluted standard, supported by three outstretched legs ending in ball-and-claw feet. h. 42-1/2”, top dia. 13-1/2”

each with a back-scrolled crest above a paneled shell- and foliate-applied back, joined by fluted downswept arms to the padded seat, raised on ring-turned tapering circular legs. h. 33”

$1,000-$1,500

$1,200-$1,800

308

778 Pair of Carved Giltwood and Gilt-Metal Sconces in the Regency Taste third quarter 20th century, Italian, the fluted backplates set with eagle finials, the scrolled giltmetal arms terminating in turned and reeded candle cups, accented with giltwood tassels on brass chains, labeled “Made in Italy” on the reverse. h. 25-1/2”, w. 11-1/4” $1,000-$1,500

779 Regency-Style Mahogany Sideboard

778

in the Sheraton taste, the shaped top with contrasting inlaid perimeter stringing, the case with a central bowfront drawer over tambour doors, flanked by serpentine drawers, the drawers with perimeter crossbanding, supported by segmented acanthuscarved and reeded turned legs, bench made. h. 38”, w. 79-3/4”, d. 28” $1,000-$1,500

780 Pair of William IV Mahogany Hall Chairs 19th century, the backs with carved drapery swags and centered by oval paintings of lion’s heads, with round plank seats and raised on splayed tapering square legs. h. 34-1/2” $1,500-$2,500

780

779

309

781 Ralph Hedley (British, 1851-1913) “Portrait of a Dachshund”, 1882 oil on canvas signed and dated lower left, a Winsor and Newton canvas stamp en verso.

In an antique frame.

11” x 15”, framed 19-3/4” x 23-1/2” $1,500-$2,500 782 George Thomas Paice (British, 1854-1925) “Samuel”, 1914 oil on canvas signed, dated, titled and localized “Cattistock” lower left.

In an antique cove-molded gesso and giltwood frame.

9” x 12”, framed 18” x 21”

781

$1,000-$1,500 The localization suggests that this is likely a portrait of one of the prized tri-colored Old English foxhounds of the Cattistock Hunt, Dorset. This famous Hunt, begun in the 18th century, is still active today as a Foxhound Pack.

783 Miniature English Mahogany Side-Lock Chest of Drawers second quarter 19th century, in the Late Classical taste, with turned bun feet, the top with a gallery on three sides. h. 14-3/4”, w. 14-1/2”, d. 10-1/4” $1,000-$1,500 784 Painted Miniature Chest in the 19th-Century British Style decorated in red and green with faux escutcheons, the sides decorated with panels of birds on branches. h. 16”, w. 14-1/2”, d. 8-3/4”

782

$1,000-$1,500

783

310

784

785 Two English Mahogany Bracket Clocks the first example, second quarter 19th century, with an arched top, the facade with brass inlay below the dial, the crest ornamented with carvings, raised on brass ball feet, h. 16-1/4”, w. 11-1/2”, d. 6-1/4”, and the second example, an Edwardian inlaid mahogany bracket clock in the Regency style, first quarter 19th century, h. 16-1/4”, w.

11-1/2”, d. 6-1/4”. $1,000-$1,500 786 Norie & Co., London, Brass Sextant

785

first half 19th century, with various sighting tubes, f ilters for monocle, etc., in a baize-lined fan-form case, the base secured with handmade rails. sextant h. 4-1/4”, w. 11-1/4”, d. 10-1/2”, case h. 5”, w. 12-3/4”, d. 12-1/2” $1,000-$1,500

786

788

787 Edwardian Carved Mahogany Desk ca. 1900, of Carlton House form, the curved brass gallery over a recessed bank of drawers and a pair of lift-top wells, the fold-out writing surface on a base with a central drawer, flanked by a pair of drawers, all with foliate-carved faces, raised on tapering Hepplewhite legs on brass cup casters. h. 40-1/2”, w. 42”, d. 18” $1,000-$1,500 788 English Tufted Leather Swivel Desk Chair diamond tufted in cognac leather and mounted to an adjustable mahogany base. h. 42”, w. 25”, d. 31” $1,000-$1,500

787

311

789 Ernest Crofts (British, 1847-1911) “At Waterloo” oil on canvas signed lower left, verso affixed with artist’s biography.

Framed.

13” x 18”, framed 19-1/2” x 24” $3,000-$5,000

789

790 Wouterus Verschuur II (Dutch, 1841-1936) “The Farewell” oil on canvas signed mid-left.

Framed.

20” x 24”, f ramed 31” x 35” $2,000-$4,000

790

312

791 Pair of Edwardian Rosewood and Faux Rosewood Three-Tier Stands ca. 1900, in the neoclassical taste, each shaped, reeded shelf with a brass gallery, supported by turned columns with bronze urn-form finials, on turned legs with brass casters. h. 34-1/4”, w. 32”, d. 19” $1,000-$1,500 792 Victorian “Slatdish” Chandelier, Attributed to F & C Osler, Birmingham, England mid-19th century, with silvered brass fittings, suspended on glass-clad rods, the center with a cut spire and prism ring, the glass arms set with cut glass prism rings, over the crystal slatdish with a central finial. h. 42-1/2”, dia. 28” $1,000-$1,500

792

791

313

793 Oushak Carpet 10’ x 14’ $3,000-$5,000

793

794 Khotan Carpet 8’ x 10’ $1,200-$1,800

794

314

795 Semi-Antique Heriz Runner 3’ 5” x 13’ 5” $1,500-$2,500 796 Antique Eagle Kazak Carpet 4’ 5” x 7’ 2” $1,500-$2,500 797 Peshawar Sultanabad Carpet 8’ 10” x 12’ 8” $1,200-$1,800

796

795

797

315

798

798 Sultanabad Carpet 9’ 5” x 16’ 5” $1,500-$2,500

798 detail

316

799

799 Heriz Serapi Carpet 9’ 8” x 14’ $1,800-$2,500

317

800

800 Agra Heriz Carpet 12’ x 17’ 11” $1,400-$1,800

318

801 Tabriz Raj Carpet 9’ 9” x 13’ 9” $4,000-$7,000

801

802 Heriz Carpet 10’ 5” x 14’ 5” $1,000-$1,500

802

319

803 Pair of George II-Style ChinoiserieDecorated Armchairs early 20th century, each with gilt and polychromed decor on a black-lacquered ground, with vasiform splat, open arms, bowed front seat rail and cabriole legs on pad feet. h. 36”, w. 23”, d. 20” Provenance: A River Oaks Estate, Houston, Texas. $1,000-$1,500

803

805

804 Edwardian Chinoiserie-Decorated Cabinet on Stand ca. 1900, in the Regency taste, the upper section with a domed top over a pair of doors in chinoiserie decor, opening to reveal an interior with a bank of eight collector’s drawers, on a stand with bi-sected columns atop a plinth base. h. 47-3/4”, w. 20-1/8”, d. 12” $1,000-$1,500 805 Chinese Export Lacquer Covered Box mid-19th century, the cover with a Mandarin scene framed with a fretpatterned border, and the sides with Mandarin scenes, on bracket feet. h. 6”, w. 15-1/4”, d. 15-1/4” $1,000-$1,500

804 detail

320

804

806 Victorian Papier-Mache Tray on Stand 19th century and later, the shaped tray with a central floralpainted reserve and inset into a later, conforming ebonized and parcel-gilt stand. h. 22-1/4”, w. 24”, d. 19-1/2” $1,000-$1,500 807 Victorian Ebonized and Paint-Decorated Cabinet

806 detail

third quarter 19th century, the upper case with an arched top and molded cornice, above a pair of shaped, conforming glazed doors, the base with a pair of side-by-side drawers over a pair of framed and paneled doors, the whole decorated with floral sprays and gilt highlights. h. 87”, w. 50”, d. 19” $1,200-$1,800

806

808

808 Exceptional English Bronze-Mounted Papier-Mache Jewel Casket mid-19th century, the cover decorated in the chinoiserie taste with a Mandarin scene executed in mother-ofpearl and gilt penwork, the sides with mother-of-pearl strapwork, set with baroque bronze paw feet and escutcheon, the interior lined with tufted silk. h. 5-1/2”, w. 12-1/2”, d. 9-1/4” $1,000-$1,500

807

321

809 detail

809

809 Queen Anne-Style Chinoiserie Cabinet-on-Stand in two parts, the case with a pair of doors opening to reveal an interior fitted with a central cupboard door amidst drawers, all with polychromed and gilt chinoiserie decoration, on an ebonized ground, on a base with scalloped apron, cabriole legs and pad feet. h. 63-1/4”, w. 30”, d. 23-1/4” $2,500-$4,000 810 Pair of Victorian-Style Mahogany Wing Chairs ca. 1900, of traditional form with shaped wings, joined to rolled arms, fitted with a loose seat cushion, and raised on tapering square legs with cup casters. h. 42-3/4” $1,000-$1,500

322

810

811 Late Victorian Dark-Stained and Ebonized Maple Desk fourth quarter 19th century, the inset leather top over a kneehole opening flanked by a pair of drawers with incised carving, on anthemion-carved brackets supported by fluted trumpet legs, the drawers with cherry sides and back. h. 29-1/2”, w. 57”, d. 29-1/2” $1,000-$1,500

811

812 Heywood Hardy (British, 1843-1933) “The Saxons’ Tribute to King Edward”, 1872 oil on canvas signed and dated lower left.

Framed.

39-1/4” x 62-3/4”, framed 48-7/8” x 72-3/4” Exhibited: 1872 Royal Academy Exhibition, London, inventory #358.

Literature: Algernon Graves, The Royal Academy Exhibitions, Vol. III (London: Chiswick Press) 1905/6; London Society: An Illustrated Magazine of Light and Amusing Literature, Vol. XXI (London: W. Clowes & Sons) 1872, p. 279. $3,000-$5,000

812

323

813 Pair of “1000 Flower” Pattern Chinese Porcelain Vases 20th century, now mounted as lamps, with molded plum handles, on pierced brass and hardwood bases. h. 22-1/4”, dia. 5-1/4” $1,000-$1,500 814 English Pine and Faux Bamboo King-Size Headboard framed and paneled with a faux bamboo turned crest rail, the end posts with applied moldings. h. 46”, w. 82” $1,000-$1,500

813

814

324

815

815 William IV Mahogany Side-Lock Chifferobe 19th century, the top section with a series of drawers above a pair of framed and molded cabinet doors, flanked by two banks of side-locking drawers. h. 48”, w. 73”, d. 16” $1,200-$1,800 816 Pair of Japanese Meiji Period Cloisonne Vases 1868-1912, now mounted as lamps, the faceted, tapered vases decorated with prunus trees and birds on pierced hardwood bases, set with leaf-molded bronze candle branches and central faceted crystal finials. h. 20-1/4”, w. 9”, d. 3-1/2” $1,000-$1,500

816

325

817 detail 817 Large and Unusual Japanese Meiji Period Signed Cloisonne Vase 1868-1912, decorated with deities and a dragon, the symbol of balance and good fortune, on a cobalt ground. h. 12”, dia. 4-1/2” $1,000-$1,500

817

818 Japanese Meiji Period Cloisonne Vase 1868-1912, the tapered oviform vase decorated with polychrome trailing peonies, lotus flowers and crysanthemums. h. 10”, dia. 2-3/4” $1,000-$1,500

818

326

819 Pair of Japanese Meiji Period Cloisonne Vases the oviform vases decorated with polychrome millefleurs of crysanthemums and peonies on a sky blue ground. h. 5-1/4”, dia. 2-3/4” $1,000-$1,500 820 Japanese Meiji Period Cloisonne Vase 1868-1912, the tapering square vase decorated with irises on a cobalt ground. h. 6-1/2”, w. 2-3/4”, d. 2-3/4” $1,000-$1,500

819

820

821 Large Japanese Meiji Period Cloisonne Covered Jar 1868-1912, decorated with scenes of musical performances, possibly a ceremony or parade, the cover with dragons on a putty ground. h. 11”, dia. 5-1/2” $1,000-$1,500

821

327

822

822 detail

822 Unusual Japanese Cloisonne Covered Jar with Fuku Mark the square ginger jar decorated with deities and lotus blossoms on an emerald green ground, marked on the bottom. h. 12”, w. 6”, d. 6” $1,000-$1,500

822 detail

328

823 Two Japanese Meiji Period Cloisonne Chaires one vase-form example decorated with flowers alternating with ibises, with a brass flower-form knop, and the globular example decorated with frolicking foo dogs chasing balls, with a reeded knop. h. 5-1/4” to 5-3/4”, dia. 3-1/4” to 4-1/4” $1,000-$1,500

823

824 Collection of Three Bronze Vases, Signed Dai Nihon Kyoto Ju Ikkodo Miyabe Atsuyoshi, Japanese Meiji period, late 19th century, the collection comprised of a pair of vases and a single larger vase, decorated with birds in branches inlaid with gold, silver and shakudo taka zogan, each signed on the bottom. h. 7-1/4” to 8-1/4”, dia. 2-1/2” to 3-1/4” $1,000-$1,500

824

329

825 Nain Carpet 9’ x 12’ 3” $2,000-$4,000

825

826 Semi-Antique Kerman Carpet 10’ 9” x 17’ 5” $1,000-$1,500

826

330

827 Turkish Angora Oushak Carpet 7’ 10” x 9’ 8” $1,200-$1,800 828 William Morris Arts and Crafts Design Carpet 9’ x 11’ 8” $1,500-$2,500 829 Agra Heriz Carpet 10’ x 13’ 9” $1,000-$1,500

827

828

829

331

830 Caucasian Style Carpet 20th century 5’ 6” x 7’ $1,000-$1,500 831 Moroccan Carpet 4’ 10” x 12’ 4” $1,000-$1,500 832 Laristan Tabriz Runner 2’ 6” x 24’ 7” $1,000-$1,500

830

832

332

831

834 833

833 Turkish Angora Oushak Carpet 9’ x 12’ 1” $1,400-$1,800 834 Turkish Angora Oushak Carpet 7’ 10” x 10’ $1,200-$1,800 835 Tabriz Carpet 9’ 3” x 13’ 3” $1,000-$1,500

835

333

ARTIST INDEX | JUNE 5-6, 2021 Adams, Ansel 97

Gerome, Francois 338

American School 159, 589, 591

Gerome, Jean-Leon (school of) 357

Artz, Constant David Ludovic 725

Gordy, Robert 173

Backus, Albert E. 659

Grooms, Red 123

Baishi, Qi (after) 148

Hardy, Heywood 812

Baldock, Charles Edwin 738

Hart, Frederick Elliott 88

Baumann, Ida (attributed to) 723

Hedley, Ralph 781

Beard, William Holbrook (after) 607

Hemmerling, William ‘Bill’ 175, 176, 180, 181

Beck, Ernst 401

Henner, Jean-Jacques 395

Benglis, Lynda 126

Henner, Jean-Jacques (attributed to) 396, 397

Bengston, Billy Al 166

Hess, Marcel 626

Bernard, Emile Henri 110, 111

Heyer, Arthur 378

Boshier, Derek 161

Heytman, Willem 140

Boucher, Alf red 402

Holmstedt, Johann 603

Boughton, George Henry 769

Honein, Mireille 170

Brewster, Anna Mary Richards 41-44, 208, 612

Hood, Dorothy 71, 72

Briggs, Lamar 69

Italian School 22

British School 566, 743

Italian-Flemish School 21

Brouwer, Frederik 709

Jowett, R.W.A., Percy Hague 109

Brunin, Leon de Meutter 602

Kahn, Wolf 32

Buttersworth, James E. 583, 584

Kendrick III, James L. 656

Cazabon, Michel Jean (circle of) 564

Kennedy, James 167, 168

Ciotta, F. 262

Kerkhoff, Maurits Ernest 710

Continental School 238

Lebenstein, Jan 85

Cooper, Colin Campbell 613

Lebourg, Albert Marie 337

Corbett, Gail Sherman 336

Lemaire, Madeleine Jeanne 721

Cortes, Andre 711

Levier, Charles 86

Couder, Gustave-Emile 371

Lewis, John Frederick 749

Crofts, Ernest 789

Lucas, William Lucas 739, 740

Daubigny, Charles-Francois 687

Martinez de Hoyos, Ricardo 67

de Dreux, Alf red (style of) 377

Martinez, Maria Montoya 172

de Momper, Frans 221

Martinez, Santana Roybal 172

Dobson, William Charles Thomas 722

Matisse, Henri (after) 137

Drysdale, Alexander John 654, 655

Max, Peter 87

Durand, Asher Brown (attributed to) 590

Meeker, Joseph Rusling 563

Fay, Keith 646

Melrose, Andrew 737

Frankenthaler, Helen 125

Michalopoulos, James 177

French School 195

Mignard I, Pierre (studio of) 55

Fridge, Roy 158

Mignon, Abraham (follower of) 372

Gallon, Robert 736

Millet, Clarence 661

Gergely, Imre 682

Miro, Joan 120

Mitchell, Joan 124

Vaudechamp, Jean Joseph 565

Moerenhout, Joseph Jodocus 713

Verboeckhoven, Eugene Joseph 712

Moreau, Auguste (after) 394

Vermeulen, Andreas Franciscus 681

Muenier, Jules-Alexis 724

Verschuur II, Wouterus 790

Murillo, Bartolome Esteban (follower of) 23

Villa, Mario 113-118

Paice, George Thomas 782

Walter, Martha 616

Pebworth, Charles 96

Waugh, Frederick Judd 615

Peske, Geza 680

Whistler, James Abbott McNeill 614

Picasso, Pablo 106-108

Wiggins, N.A., Guy Carleton 631

Pollentine, Alf red (attributed to) 270

Wolseley, Garnet Ruskin (attributed to) 720

Portman, Brian 121, 122, 169

Woodward, Ellsworth 663

Post, William Merritt 611

Zuccaro, Taddeo (attributed to) 244

Raphael (after) 24

Zuniga, Francisco 171

Reinike, Charles Henry 662 Reyna Manescau, Antonio Maria de 260 Richet, Leon 688 Robinson, Priscilla 66 Rodrigue, George 179 Rousseau, Theodore 689 Rucker, Robert 178, 660 Russell, R.A., John (attributed to) 758 Scheerboom, Andries 679 Schouten, Gerrit Jan 704 Schouten, Henry 370, 702, 705, 706 Simonds, Charles 165 Slonem, Hunt 162, 163 Stewart, Julius LeBlanc (attributed to) 375

New Orleans Auction Galleries does not make any express or implied warranty as to the authorship of works of art and fine art. Please note that all of the terms and descriptions used in this catalogue are intended as our qualified opinions only and are subject to the Conditions of Sale set forth elsewhere.

The Artist’s Name: In our qualified opinion, a work by the artist.

Attributed to: In our qualified opinion, a work of the period of the artist that may be in whole or in part the work of the artist.

School of / Follower of: In our qualified opinion, a work by a follower of the artist.

Circle of: In our qualified opinion, a work of the period of the artist

Stock, Johann Friedrich 604

and showing his or her influence.

Stout, Richard 157

Studio of: In our qualified opinion, a work possibly associated with

Strigelly, Ernesto 702

the studio of the artist and showing his or her influence.

Stuermer, Marcia 82

Manner of: In our qualified opinion, a work in the style of the artist,

Tabuena, Romeo 164

possibly of a later period.

Tajima, Hiroyuki 70

After: In our qualified opinion, a copy of a known work by the artist.

Tamayo, Ruf ino 68

Signed: In our qualified opinion, has the signature which is that of

Tolliver, William 174

the artist.

Tolmay, John 160

Bears Signature: In our qualified opinion, has a signature which may

Toorenvliet, Jacob (circle of) 222 Trouillebert, Paul Desire 376 van den Hoecke, Gaspar (school of) 223 van Ravenswaay, Jan 707 van Severdonck, Francois 708

be the signature of the artist.

Dated: In our qualified opinion, is so dated and was executed on or around that date.

Bears Date: In our qualified opinion, is so dated and may have been executed at about that date.

Conditions of Sale: ALL SALES ARE “AS IS, WHERE IS” WITHOUT ANY WARRANTIES WHATSOEVER. PLEASE SEE SECTION 2(a) BELOW IN WHICH ANY AND ALL EXPRESS AND IMPLIED WARRANTIES (INCLUDING WITHOUT LIMITATION ANY WARRANTY AGAINST REDHIBITORY DEFECTS) ARE WAIVED.

1. Introduction (a). These Conditions of Sale (“Conditions of Sale”) contain all the terms governing Auctions (defined below) conducted by Cakebread Art Antiques Collectables, Inc. d/b/a New Orleans Auction Galleries (“NOAG”), and all the terms under which NOAG and the Seller (defined below) of a Lot (defined below) contract with the Buyer (defined below).

These Conditions of Sale may be amended by posted notices or oral announcements made during the Auction. (b). Under these Conditions of Sale, the following capitalized terms are defined as follows: • An “Auction” is a public auction conducted by NOAG, at which Bidders may place Bids to purchase one or more Lots offered for sale by NOAG. An Auction takes place over one or more days and includes separate auctions of one or more Lots within an event conducted by NOAG; • The “Auctioneer” is the auctioneer calling the Auction conducted by NOAG; A “Bid” is a bid made by a party at the Auction to purchase a Lot; • A “Bidder” is (i) a person making a Bid at the Auction (whether in person, through an absentee bid, through electronic or internet means, or through telephone bidding); and/or (ii) a person who attends the Auction and registers to make a Bid (whether in person, through an absentee bid, through electronic or internet means, or through telephone bidding); • A “Buyer” is the party that commits to purchase a Lot by submitting the Winning Bid at Auction; • “Buyer’s Premium” is defined in Section 4 below; • “Catalogue” is the Auction catalogue utilized by NOAG to list the Lots offered at Auction; • The “Estimates” are the high and low estimates of value for each Lot set forth in the Catalogue presented by NOAG in connection with the Auction or otherwise set forth and/or announced at the Auction; • The “Hammer Price” for a Lot is the amount of the Winning Bid at the Auction, as announced by the Auctioneer, exclusive of commissions, Buyer’s Premium, expenses, and any taxes or other charges; • A “Lot” is specific item of property offered for sale at Auction; The “Reserve” is defined in Section 3 below; • The “Purchase Price” is defined in Section 4 below; A “Sale” of a Lot occurs when a Winning Bid is declared at Auction for the Lot; • The “Seller” of a Lot is the party who consigned the Lot with NOAG for purposes of selling the Lot, or is otherwise the seller of the Lot; • The “Winning Bid” is, as to a particular Lot, the Bid recognized by the Auctioneer as the highest and best Bid for that Lot.

(c). Except as otherwise stated, NOAG acts as consignment agent for the Seller. The contract for the sale of the Lot is therefore made between the Seller and the Buyer. (d). By bidding at the Auction as a Bidder or Buyer, and/or by your signature below, you agree to be bound by these terms.

2. Before the Auction (a). ALL SALES ARE “AS IS, WHERE IS” WITH NO EXPRESS OR IMPLIED WARRANTIES WHATSOEVER. (i) NEITHER NOAG NOR THE SELLER PROVIDES ANY GUARANTEE OR WARRANTY AS TO THE NATURE, DESCRIPTION, GENUINENESS, PROVENANCE, IMPORTANCE, OR CONDITION OF THE LOT. All Sales and Auctions are without any representation or warranty of any kind by NOAG or the Seller. Bidders and Buyers are responsible for satisfying themselves concerning the condition of the Lots and the matters referred to in the catalogue entry, the Condition Report, or in any other statement or writing provided. All Sales are final and are “AS IS WHERE IS.” (ii) No warranty of redhibition. ANY WARANTY AGAINST REDHIBITORY DEFECTS IS WAIVED AND EXCLUDED. NOAG and Seller provide absolutely no warranty against redhibitory defects, including without limitation: (x) any defects rendering a Lot useless or its use inconvenient; and (y) any defects diminishing the usefulness of a Lot; and any such warranties are waived and excluded. In addition, NOAG and Seller provide no warranties, guarantees, or representations as to whether a Lot is fit for its ordinary use, fit for Buyer’s intended use or for Buyer’s particular purpose. (iii) No warranty against eviction. ANY WARRANTY AGAINST EVICTION IS WAIVED AND EXCLUDED. In the event that Buyer is evicted from possession of whole or part of the Lot, neither NOAG nor Seller have any duty whatsoever to return any part of the Purchase Price to Buyer. Buyer is buying at Buyer’s sole risk and peril as to third parties who may claim rights in the Lot after the Sale. (iv) No warranty as to authorship. NOAG does not make any express or implied warranty as to authorship of works of art and fine art. No statement in the Catalogue or elsewhere, orally or in writing, shall be construed as an express or implied warranty, representation or limitation of liability as to authorship. Any such warranty is WAIVED. (v) No warranty of peaceful possession, etc. The following warranties are waived and excluded: the absence of hidden defects, peaceful possession, and ownership. NOAG and Seller provide absolutely no warranty that the Lot is free from hidden defects, or for peaceful possession, or for ownership. (vi) No other warranties. None of the Seller, NOAG, or any of NOAG’s officers, employees or agents, give any representation, warranty or guarantee or assume any liability of any kind in respect of any Lot with regard to merchantability, fitness for a particular purpose, description, size, quality, condition, attribution, authenticity, rarity, importance, medium, provenance, exhibition history, literature or historical relevance. Except as required by local law, any express or implied warranty of any kind whatsoever is excluded by this Section 2(a). (b). Examination of property / Condition Reports. Prospective Buyers and Bidders are strongly advised to examine personally any property in which they are interested, before the Auction takes place. As a convenience, Bidders may request that NOAG produce a Condition Report (“Condition Report”) for a Lot, which, if produced, will provide additional detail concerning the condition of the Lot as observed

by NOAG’s staff. NOAG reserves the right to decline to produce a Condition Report for any specific Lot, for any reason and in NOAG’s sole discretion.

Rev. 01/04/17

(c). Catalogue and other descriptions. (i) All statements made by NOAG as to condition, authorship, period, culture, source, origin, measurement, quality, rarity, provenance, importance, or historical relevance, whether in the Catalogue entry for the Lot, in the Condition Report, and/ or in a bill of sale, or made orally or in writing elsewhere, are qualified statements of opinion only and are not to be relied on as statements of fact. Such statements do not constitute a representation, warranty or assumption of liability by NOAG of any kind. References in the Catalogue entry or the Condition Report to damage or restoration are for guidance only and should be evaluated by personal inspection by the Bidder or a knowledgeable representative. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. (ii) Without limiting the foregoing, none of the Seller, NOAG, or any of NOAG’s officers, employees or agents, are responsible for the correctness of any statement of whatever kind concerning any Lot, whether written or oral, nor for any other errors or omissions in description or for any faults or defects in any Lot. (iii) Any Estimates provided should not be relied on as a statement that this is the price at which the item will sell or its value for any other purpose. Any written or oral appraisal, Estimate or other statement of NOAG or our representatives with respect to the estimated or expected selling price of any Lot of Property is a statement of opinion only and shall not be relied upon by Bidders or prospective Bidders as a prediction or guarantee of the actual selling price. (iv) NOAG shall not be liable for any errors or omissions in catalogue or other descriptions of the Property. Neither NOAG nor the Seller is responsible in any way for errors and omissions in the catalogue, or any supplemental material. (d). Further acknowledgement. As a Bidder and prospective Buyer, you further agree and acknowledge that: (i) You are not relying on NOAG’s skill or judgment in selecting to purchase any Lot; (ii) No oral or written statements in the Auction Catalogue, Condition Report, or elsewhere are the cause of or reason behind your purchase of any Lot; and you would have incurred such purchase regardless of any oral or written statements about condition, attribution, kind, quality, value, or authorship made in the catalogue or elsewhere; (iii) NOAG did not and could not have known that condition, attribution, kind, quality, expressed value, or authorship is the cause or reason why you decide to purchase any Lot; (iv) Your purchase of any Lot is not intended to gratify a nonpecuniary interest; and (v) NOAG did not know, nor should it have known, that any oral or written statement about a Lot in the catalogue, Condition Report or elsewhere would cause a nonpecuniary loss to a Buyer.

3. At the Auction (a). Registration before bidding / Bidding requirements. In order to be accepted as a Bidder and allowed to place a Bid, all Bidders must meet all of the following requirements: (i) A Bidder must complete and sign the attached registration form and provide identification to NOAG; (ii) NOAG may require the production of bank or other financial references or any other additional information; (iii) When making a Bid, a Bidder is accepting personal liability to pay the Purchase Price in full in the event that the Bidder submits the Winning Bid, unless it has been explicitly agreed in writing with NOAG before the auction of the Lot that the Bidder is acting as agent on behalf of an identified third party acceptable to NOAG, and that NOAG will only look to that principal for payment (iv) All Bids are to be made in U.S. currency unless agreed upon between NOAG and the Bidder; and (v) At NOAG’s sole discretion, NOAG may require any Bidder to post a cash deposit in an amount set by NOAG at its sole discretion. Such deposit may include, without limitation, a deposit of 25% of the Maximum Bid (or another amount set in NOAG’s sole discretion) in the case of Absentee Bids (defined below). (b). Refusal of admission / Rejection of Bidders. NOAG has the right, at its complete discretion, to refuse admission to the premises or participation in any Auction. NOAG reserves the right to reject any Bidder for any reason whatsoever and in NOAG’s sole discretion. (c). Absentee bids / Telephone bids. (i) As a convenience to Bidders, NOAG may allow a Bidder to submit an absentee bid (“Absentee Bid”) or telephone bid (“Telephone Bid”) by filling out (in full) the section of the attached registration form marked “Absentee Bids / Telephone Bids.” In order to submit an Absentee Bid or Telephone Bid for an Auction, that registration form must be filled out and submitted to NOAG no later than 5:00 p.m. central time on the last business day before the commencement of the Auction. (NOAG reserves the right to accept late Absentee Bid or Telephone Bid submissions in NOAG’s sole discretion.)

All Absentee Bid submissions must include a maximum bid amount (“Maximum Bid”). (ii) If an Absentee Bid is submitted and accepted, at the time of the auction of the affected Lot, the Auctioneer or other NOAG staff will place the Absentee Bid at the amount of the opening bid amount, and will increase the amount as necessary until the earlier of (x) the Absentee Bid is the Winning Bid; or (y) the amount reaches the Maximum Bid. All such actions in this paragraph are at the sole discretion of the Auctioneer and/ or NOAG. If NOAG receives Absentee Bids on a particular Lot with identical Maximum Bid amounts, and at the Auction these are the highest bids on the Lot, the Lot will be sold to the person whose Absentee Bid was received and accepted first. In the event of a tie bid between an Absentee Bid and a Bid submitted by a Bidder physically present at the Auction (or a Telephone Bid), the Lot will be sold to physically present Bidder (or bidder submitting the Telephone Bid).

Rev. 01/04/17

(iii) If a Telephone Bid is submitted and accepted, at the time of the auction of the affected Lot, NOAG staff shall attempt to contact the Bidder using the telephone number provided. If successfully contacted, the Bidder shall then be afforded the opportunity to place a Bid on the Lot by telephone. Telephone Bids may be recorded. By submitting a Telephone Bid, the Bidder consents to the recording of the conversation and the placing of the Bid. (iv) Execution of Absentee Bids and Telephone Bids is a free service undertaken subject to other commitments at the time of the Auction and neither NOAG nor the Auctioneer shall have any liability for failing to execute an Absentee Bid or Telephone Bid or for errors and omissions in connection therewith. (d). Video or digital images. At some Auctions there may be a video or digital screen. Errors may occur in its operation and in the quality of the image and we do not accept liability for such errors. NOAG reserves the right to video tape and record proceedings at any Auctions. Any personal information obtained will be held in confidence by NOAG but may be used or shared with our affiliates and marketing partners for customer analysis purposes and to help us to tailor our services to buyer requirements. Any Bidder attending an Auction in person who does not wish to be video-taped may make arrangements to make a Telephone Bid in accordance with Section 3(c) above. (e). Reserves. All Lots are offered subject to a reserve, which is the confidential minimum price below which the Lot will not be sold (the “Reserve”). The Reserve for a Lot will not exceed the low Estimate for that Lot. The Auctioneer may open the bidding on any Lot below the Reserve by placing a bid on behalf of the Seller. The Auctioneer may continue to bid on behalf of the Seller up to the amount of the Reserve, either by placing consecutive bids or by placing bids in response to other bidders. Notwithstanding the foregoing, a Lot may be sold at a Hammer Price below the Reserve, at the discretion of the Auctioneer and NOAG, in any manner consistent with the agreement between NOAG and the Seller. (f). No bidding by Seller. Under no circumstances shall Seller (as agent or principal), whether by itself or through its representatives, employees or agents (except as through the Auctioneer as set forth in Section 3(e) above), enter or cause to be entered a Bid on Seller’s Lot. (g). Auctioneer’s discretion. The Auctioneer has the right at his or her absolute and sole discretion to refuse any Bid, to advance the bidding in such a manner as he or she may decide, to withdraw or divide any Lot, to combine any two or more Lots, and in the event of any error or dispute, to determine the Winning Bid, to continue the bidding, to cancel the Sale or to reoffer and resell the Lot or item in dispute. If any dispute arises after the Sale, NOAG’s sale record is conclusive. Unless otherwise announced by the Auctioneer at the time of Sale, all Bids are per Lot as numbered in the Catalogue and no Lot shall be divided for Sale. NOAG and/or the Auctioneer may withdraw any Lot at any time before such Lot is offered at Auction, for any reason and in their sole and absolute discretion. (h). Successful bid and passing of risk. The Auctioneer shall have absolute discretion in determining the Winning Bid and the striking of the Auctioneer’s hammer marks the acceptance of the highest and best bid as the Winning Bid and the conclusion of a contract for sale between the Seller and the Buyer. Risk and responsibility for the Lot but not its title passes to the Buyer immediately upon announcement of the Winning Bid at the Auction. (i). Post-auction sale. In the event that there is no Winning Bid at Auction for a Lot, or the Lot is withdrawn from the Auction, or the Sale is cancelled for non-payment pursuant to Section 4(g) below, NOAG may sell the Lot at public or private sale at any time thereafter, in a manner consistent with the agreement between Seller and NOAG. (j). NOAG assumes no responsibility for failure to execute Bids for any reason whatsoever.

4. After the Auction (a). In order to consummate and complete the Sale, the Buyer must tender payment in full of all of the following amounts (all such amounts together being the “Purchase Price”) to NOAG: (i) the Hammer Price; and (ii) the “Buyer’s Premium” consisting of a premium of 25% of the Hammer Price (discounted to 22% if the method of payment is by check, cash, or wire transfer [subject to a $30 fee for domestic wires and a $60 fee for international wires] by the end of the day on the fifteenth calendar day following the conclusion of the Auction - note that there is no discount for LiveAuctioneers and Invaluable bidders) up to and including a Hammer Price of $200,000 and 10% of the amount by which the Lot’s Hammer Price exceeds $200,000; and (iii) Any applicable Louisiana, state, local, and federal or other taxes, calculated as required by law. Any documentation of tax exemption must be provided by the Bidder contemporaneously with the execution of the attached registration form. (b). Payment and passing of title. The Buyer and any other Bidders are responsible for contacting NOAG for Auction results during the week after the conclusion of the Auction. Subject to the provisions of Section 4(i) below which may require earlier payment, the Buyer must pay the full Purchase Price no later than 4:30 pm central time on the fifteenth calendar day following the conclusion of the Auction.

Payments may be submitted during business hours to: New Orleans Auction Galleries, 333 St. Joseph Street, New Orleans, Louisiana 70130, Telephone number: 504-566-1849. Payments may be made by certified check, cash, wire transfer, or credit card (Visa, Mastercard, and American Express). Payments will be accepted by non-certified check only in NOAG’s sole discretion, from Buyers that have been qualified by NOAG in NOAG’s sole discretion. Title to the Lot does not pass to the Buyer until the full amount of the Purchase Price has been tendered and received by NOAG in good cleared funds, even in circumstances where the Lot has been released to the Buyer. (c). Credit Cards. Your signature on this form constitutes permission to charge the full amount of the Purchase Price on your credit card, if you are the Buyer on a Lot and payment is not received within five business days of the close of the Auction. Your signature on this form also constitutes permission to charge the full amount of Storage Charges (defined below), if and when accrued, on a periodic basis on your credit card. (d). Release of Lot to Buyer. No Lot will be released to the Buyer unless and until NOAG receives full payment of the Purchase Price, and such payment has cleared and NOAG has received confirmation of all funds owed. At its sole discretion, NOAG may release a specific Lot at any time, notwithstanding the foregoing provision.

In addition, NOAG may require that Lots not be released until the Buyer has cleared additional checks in NOAG’s sole discretion, including without limitation, any anti-money laundering or antiterrorism financing checks to NOAG’s satisfaction. In the event that a Buyer fails to complete any anti-money laundering or anti-terrorism financing checks to NOAG’s satisfaction, NOAG shall be entitled to cancel the Sale and take any other action permitted or required under applicable law. In addition, notwithstanding the foregoing, Lots cannot be released until after the conclusion of the Auction. (e). Export/Import license and Dealers. It is the Buyer’s sole responsibility to obtain any relevant export or import license. The denial of any license or any delay in obtaining licenses shall not justify the rescission of any sale nor any delay in making bill payment for the Lot; and shall not limit or alter any of the obligations of the Buyer herein. Dealers purchasing for resale must enter appropriate their Dealer Resale Number on the attached registration form and provide NOAG with proper documentation.

Rev. 01/04/17

(f). Storage charge. Subject to the foregoing provisions, any Lot that is not picked up by the end of the day on the fifteenth calendar day following the conclusion of the Auction is subject to an additional storage charge of $5.00 per Lot per day (“Storage Charge”) for as long as the Lot is stored at NOAG’s facilities. The outstanding amount of this Storage Charge must be paid in full (in addition to the Purchase Price) before such Lot will be released to the Buyer. Such Storage Charge accrues on a daily basis and is billed monthly. All items handled or stored will be at the Buyer’s risk. NOAG is not liable for any damage to Lots after the conclusion of the Auction. (g). Remedies for non-payment. If the Buyer fails to make payment in full of the Purchase Price in good cleared funds within the time required

by Section 4(b) above, or payment in full of any applicable Storage Charge when incurred, NOAG shall be entitled in its absolute discretion to exercise one or more of the following rights or remedies (in addition to asserting any other rights or remedies available by law): (i) to charge outstanding amounts to the Buyer’s credit card; (ii) to charge interest at the rate of one and one-half percent (1.5%) per month (but not to exceed the highest amount chargeable under applicable law); (iii) to hold the Buyer liable for the total amount due and to commence legal proceedings for its recovery together with interest, legal fees and costs to the fullest extent permitted under applicable law; (iv) to exercise any other remedy or remedies available under the law, including but not limited to a second sale of said item in accordance with the provisions of applicable law, including the subsequent enforcement of any deficiency against the initial buyer; (v) to cancel the sale; (vi) to resell the property publicly or privately on such terms as we shall think fit; (vii) to pay the Seller an amount up to the net proceeds payable in respect of the amount bid by the defaulting Buyer; (viii) to set off against any amounts which NOAG may owe the Buyer in any other transactions, the outstanding amount remaining unpaid by the Buyer; (ix) where several amounts are owed by the Buyer to NOAG, in respect of different transactions, to apply any amount paid to discharge any amount owed in respect of any particular transaction, whether or not the Buyer so directs; (x) to reject at any future Auction any Bids made by or on behalf of the Buyer or to obtain a deposit from the Buyer before accepting any Bids; (xi) to exercise all the rights and remedies of a person holding security and/or privilege over any property in our possession owned by the Buyer, whether by way of pledge, security interest or in any other way, to the fullest extent permitted under Louisiana law (including without limitation under La. Civil Code art. 3247, La. R.S. 10:7-209 and 10:7-210 and other applicable law), or (xii) to take such other action as NOAG deems necessary or appropriate. In connection with the item (xi) above, the Buyer will be deemed to have granted such security to NOAG and NOAG may retain the affected Lot and any property of the Buyer as collateral security for such Buyer’s obligations to NOAG and to the Seller

If we resell the property under Section 4(g)(vi) above, the Buyer shall be liable for payment of any deficiency between the total amount originally due to us and the price obtained upon resale as well as for all costs, expenses, damages, legal fees and commissions and premiums of whatever kind associated with both sales or otherwise arising from the default. If we pay any amount to the Seller under paragraph (vii) above, the Buyer acknowledges that NOAG shall have all of the rights of the Seller, however arising, to pursue the Buyer for such amount. (h). Shipping and packing. All shipping, packing, and transportation of Lots from NOAG’s facilities is the responsibility of Buyer. NOAG may, as a courtesy, assist Buyer with necessary arrangements, but by doing so, NOAG assumes no responsibility or liability for shipping, packing, moving, or transportation, including without limitation damage to Lots, damage to Buyer’s vehicle, or any personal injury of any persons involved. (i). Earlier payment may be required. For any specific Lot, and notwithstanding the provisions of Section 4(b) above, NOAG may require, in its sole discretion, that the Hammer Price for the Lot be paid immediately upon the striking of the Auctioneer’s hammer and announcement of the Winning Bid, with the balance of the Purchase Price being due by the close of the Auction.

5.Copyright The copyright in all images, illustrations and written material produced by or for NOAG relating to a Lot including without limitation the contents of the Catalogue, is and shall remain at all times the property of NOAG and shall not be used by the Buyer or Bidder, nor by anyone else, without our prior written consent. NOAG and the Seller make no representation or warranty that the Buyer of a Lot will acquire any copyright or other reproduction rights in it.

6. Severability If any part of these Conditions of Sale is found by any court to be invalid, illegal or unenforceable, that part shall be discounted and the rest of the conditions shall continue to be valid to the fullest extent permitted by law.

7. Data Collection In connection with the operation of our auction business, NOAG may need to seek personal information from Bidders or obtain information about Bidders from third parties (e.g., credit checks from banks). Such information will be processed and kept by us in confidence. Some of Bidders’ personal data may also need to be shared with third party service providers (e.g., shipping or storage companies) for Bidders’ benefit. By participating in an Auction, you agree to all previously stated disclosure.

8. Law and Jurisdiction The rights and obligations of the parties with respect to these Conditions of Sale, the conduct of the Auction and any matters connected with any of the foregoing shall be governed and interpreted under the laws of the State of Louisiana. By bidding at the Auction and/or through execution of the attached registration form, the Bidder consents to the exclusive jurisdiction of the courts of the State of Louisiana and the Federal courts of the United States of America located in the Eastern District of Louisiana.

Rev. 01/04/17

New Orleans Auction Galleries

333 Saint Joseph Street, New Orleans, LA 70130 | 504-566-1849 | Fax: 504-566-1851 | info@neworleansauction.com

ABSENTEE / TELEPHONE BID FORM Name (Please Print): ______________________________________________

Date: ______________________

Business Name: ______________________________________________________________________________ Dealer Resale # (Dealers must also sign official State of Louisiana document): _______________________________ Address: ____________________________________________________________________________________ City: _____________________________________________

State: ____________ ZIP: ___________________

Telephones: Work (_____)_____________ Home (______)______________ Fax (______)_______________ E-mail Address: _________________________________________________________________________________ Conditions of Sale: Conditions of sale are as set forth in the applicable New Orleans Auction Galleries catalogue.

Placing a telephone bid and/or absentee bid in the auction constitutes acceptance of all Conditions of Sale posted

by NOAG as amended by any posted notices or oral announcements during the sale.

Lot #

Bid Amount (not including buyer’s premium) OR Telephone Number to Call:

$ $ $ $ $ $ $ $ $ VISA / MasterCard #: ____________________________________________ Expiration Date: _____________ CVV #: _______________ I have read and agree to the Conditions of Sale. I agree that a buyer’s premium will be charged on each lot purchased at 25% up to and including $200,000 plus 10% of the hammer price greater than $200,000. For purchases made by cash, check or wire transfer [subject to a $30 fee for domestic wires and a $60 fee for international wires], the buyer’s premium shall be discounted 3% of this 25%. Note that there is no discount for LiveAuctioneers and Invaluable bidders. Your signature on this form constitutes permission to charge successful bids to your credit card, including the 25% buyer’s premium, if payment is not received within five days of the auction.

Signature (Required): ___________________________________________________________________ Please fax this form by 5:00 p.m. the day before the auction to 504-566-1851 or scan and email to info@neworleansauction.com

Susan D. Sarofim CEO

Tessa Steinkamp Director of Auctions

Taylor Eichenwald Assistant Director of Auctions

Jelena Restovic James Director of Fine Art

Ireys Bowman General Consignments

Greg S. Kowles General Consignments

Kim Lemon Director of Fine Jewelry

Michele Carolla Fine Art Specialist

Nicole Casi, PhD Fine Art Specialist

Charles C. Cage Silver Specialist & Office Manager

Thomas Halverson American Furniture Specialist

Burke Designer

AUCTIONEERS Tessa Steinkamp, #1265 Taylor Eichenwald, #1922 Michael DeGeorge, #1774

Kelly McMahon Client Services & Administrative Assistant

CONSULTANTS

Grace Connors Manager of Online Auctions

ADMINISTRATION

Ellen McKenzie English & Continental Furniture

Denise Haik Office Administration

Ira Savoie Independent Certified Gemologist Appraiser

Gary Michael Gittelson Photographer

Christa Ougel Graphic Designer Photographer Bettina Bausa Graphic Designer

OPERATIONS Cedric Roberts | Sean Ranson Bennie Amos | Eddie Daigrepont Emmitt Kendrick, Jr. Gerald Hampton | Juanita Bazile Sol Carter | Theadrow Mark